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Price, 25 Cents 



The 
Heart of a Shamrock 





PUBLISHED BY 

The* Dramatic PuBi^isiiiNG Compant 

CHA.B.LES H SEILGEL. , PRESIDENT 



^ 



Practical Instructions fof 
Private Theatricals 

ByW.D, EMERSON 
Aut£ior of '*A Country Eomance," ''The Unknown Eival," 

^'Humble Pie," etc. 



Price, 25 cents 



Here is a practical hand-book, describing in detail all the 
accessories, properties, scenes and apparatus necessary for an 
amateur production. In addition to the descriptions in words, 
everything is clearly shown in the numerous pictures, more 
than one hundred being inserted in the book. No such useful 
book has ever been offered to the amateur players of any 
country. 

CONTENTS 
Chapter I. Introductory Eemarks. 

Chapter II. Stage, How to Make, etc. In drawing-rooms 
or parlors, with sliding or hinged doors. In a single large 
room. The Curtain; how to attach it, and raise it, etc. 

Chapter III. Arrangement of Scenery. How to hang it. 
Drapery, tormentors, wings, borders, drops. 

Chapter IV. Box Scenes. Center door pieces, plain wings, 
door wings, return pieces, etc. 

Chapter V. How to Light the Stage. Oil, gas and electric 
light. Footlights, Sidelights, Eeflectors. How to darken the 
stage, etc. 

Chapter VI. Stage Effects. Wind, Eain, Thunder, Break- 
ing Glass, Falling Buildings, Snow, Water, Waves, Cascades, 
Passing Trains, Lightning, Chimes, Sound of Horses' Hoofs^ 
Shots. 

Chapter VII. Scene Painting. 

Chapter VIII. A Word to the Property Man. 

Chapter IX. To the Stage Manager. 

Chapter X. The Business Manager. 

Address Orders to 
IHE DRAMATIC PUBLISHING COMPANY 

CHICAGO. ILLINOIS 



The Heart of a Shamrock 



A PLAY IN THKEE ACTS 



BY 

GEORGE M. ROSENER 



Copyright, 1914, by THE DRAMATIC PUBLISHING CO. 



CHICAGO 
THE DEAMATIC PUBLISHING COMPANY 



T?)!-'^^ 

;,^^«>-i 



THE EOOM 

A plain interior. A door at the back (D. I. F.) opens on the 
exterior; to the left of this, a long low window of many small 
panes. Across the window a curtain is run on a string. 

A door at the left of the room opens into the church. On 
the down stage side of this stands an old organ. A book-ease 
stands in the upper left hand corner of the room. A side-board 
sets in the upper right hand corner. 

A door at the right of the room opens into the kitchen. On 
the down stage side of this door there is a fire place. In front 
of the fire place, facing down stage, there is a big high backed 
settle or settee; hard by this is set a small table on which reposes 
the Pastor's smoking articles. 

A great rocking chair stands close by the organ. Between 
the window and the door at the back of the room is the Pastor's 



In the centre of the room is a round dining-room table with 
seven chairs. 

Hat rack on the back wall. 



JAN -6 1915 

©GI,D 39328 



CHARACTEES 

Father O'Neil — Our Pastor. 

Bob ' * The Sheriff ' ' — His Brother, the Shamrock. 

'^Laddie" — The Youngest Brother. 

Grizzly Adams — A Cattleman. 

May — An Irish Eose. 

Gad— A City Waif. 

Mrs. Donovan — The Housekeeper. 

Joan — ^A Eanchman's Daughter. 

Note— The character of Gad may be played as either a boy 
or a girl. 



Copyright, 1914, by THE DEAMATIC PUBLISHING CO. 



Both professional and amateur actors are warned not 
to perform this play until they have the written permis- 
SION OF THE PUBLISHERS. THE ROYALTY FEE IS FIVE DOLLARS FOR 
EACH PERFORMANCE, PAYABLE IN ADVANCE. 

ACT I. Sitting Eoom in Father O 'Neil 's Home. Evening. 
About 7 o 'Clock. 

ACT II. The Same. About 11 o 'Clock. 

ACT III. The Same. One Hour Later. 

Time: Present. Place: Wild Cat, Colo. 
Playing Time: About Two Hours. 



DESCEIPTION OF CHAEACTERS 

The Pastor: A kind and big hearted man of about forty 
years of age. The costume for this character will be found in the 
text. He uses a slight Irish dialect. 

Bob : A big, rough and good natured fellow of about twenty- 
five years of age. He wears rough pants, tucked into a heavy 
pair of boots, flannel shirt with handkerchief about his neck, 
revolver and cartridge belt. When entering from without, he 
wears in addition to the above a heavy short great-coat. 

Laddie: About twenty-four years of age. Stubborn, surly 
and self-willed. Costume patterned after Bob's. 

Grizzly: About forty -five. Big, rough and ready. Bowed 
legs, red haired and wearing a big drooping mustache. Costume 
patterned after Bob's with the exception that he wears a great 
pair of sheep skin ' ' chaps. ' ' 

May : A sweet little Irish lass of about twenty- three. Simple 
house dresses. 

Gad: About fourteen, wild though good at heart. House 
dress. 

Mrs. D. : About forty. Stout, grey haired and motherly, 
albeit a bit stern. House dress. 

Joan: About eighteen. A spoiled child. She dresses a bit 
better than her neighbors and so considers herself. 



The Heart of a Shamrock 

ACT I. [At rise: Gad is discovered before the fire- 
place, reading a hook. The table is set for supper. Mrs. 
D. enters right with a table lamp.] 

Mrs. D. Well, me foin young lady! Don't ye think 
it 's high toim ye took ye nose out of that book and helped 
me with the supper things ? 

Gad. I can't stop now. 

Mrs. D. And why not ? 

Gad. Daredevil Dick has just shot three Injuns and 
I want to see if he killed them. 

Mrs. D. When I tell Father O'Neil ahout this readin' 
of yours, he'll give ye all the Daredivils you're looking 
fer, I'm thinkin'. 

Gad. Say, Mrs. Donovan, did you ever meet Dare- 
devil Dick? 

Mrs. D. I did not ; though I have met other divils in 
me toim, and young wans, too. Now get along and wash 
ye face; they'll all be in fer supper before we know it. 

Gad. Aw! Do I have ter wash me face again? I 
washed it once this morning. 

Mrs. D. Then ye '11 wash it once again to-night. 

Gad. What's dense? It only gets dirty again. 

Mrs. D. [Sets the lamp on the table.] Ye '11 wash 
ye face or ye '11 not get a mouthfull to eat. Mind that! 
[Exits right.] 

Gad. Aw ! I '11 bet that Daredevil Dick never washed 
his face. 

5 



6 THE HEART OP A SHAMROCK 

May. [Enters D. I. F.] Good evening, Gad. Phew ! 
It's getting cold. [She hangs her hat and great coat 
over the lookcase.'] We'll have snow before morning. 
What's the matter with ye, Gad? You're looking as 
black as thunder. 

Gad. I've got ter wash my face again. I tell yer, 
May, washing yer face twice in one day is a dangerous 
business. I read in a book once that too' much of any- 
thing ain't good for a person. 

Bob. [Enters D. 7. F.'\ Phew! But this is some 
weather. Evenin', May. Hello, Gad. How's Daredevil 
Dick coming on? 

Mrs. D. [Off stage right.'] Gad! Gad, I say! Are 
ye going ter wash ye face? 

Gad. Bob, when I grow up to be a big lady, I'm 
going ter be a bandit. And the very first thing I'm 
goin' ter do is capture Mrs. Donovan, and then I'm goin' 
ter make her wash her face ten thousand times a day. 
[Exits right.] 

Bob [Removing his great coat and hanging it on the 
wall rack]. How's everything at the school. May? 

May. Oh, we're getting along just fine. Sure, I'll be 
after taking in ten more pupils as soon as the holidays 
have passed. 

Bob. Fine ! That 's great, I say. I said at the start 
that you could make the thing go. You could make 
anything go. 

May. Sure, I've succeeded as a school marm only 
because ye all have been so kind and trusted me so. 

Bob. And why not? Ain't you our May? The 
playmate of our childhood when we were all kids to- 
gether at home in the old country ? Let 's see, how long 
is it since you came over? 



THE HEART OF A SHAMROCK 7 

May. Almost two years. 

Bob. Is it that long? Say, don't the time fly, 
though ? 

May. Your brother, Father O'Neil, and meself came 
over just two years ago last month. 

Bob. Jim is a fine man ; I mean Father. I 'm afraid 
I never will get used to calling him Father, now that he 
is a priest. To me he will always be my big brother, 
Jim O'Neil. 

May. Sure, and that's not surprising. 

Bob. No, in a way it's not. Laddie and I came over 
"with my father when we were but five years of age, and 
Jim — there I go again ; I mean Father^ — stayed at home 
to go in for the priesthood. He was then a big over- 
growTi chap about eighteen. I can see him now, stand- 
ing on the dock waving a ragged hat as we sailed away. 
And so I mil see him until the day I die. 

May. I for one am sure that I can never repay 
Father O'Neil for all his kindness to me. He has been 
my constant friend and adviser ; always at my side when 
I needed a friend the most. 

Bob [Filling and lighting his pipe]. Fine man, Jim. 
I guess it wont be many days now before you can say, 
*^and he married me, too." 

M.VY. Married ? 

Bob. That's what I said. Wasn't it the last wish of 
your mother that you should marry our Laddie ? 

May. Yes, it was. 

Bob. And Jim and I are going to see that it happens. 

May. Bob, I 've been thinking lately that wouldn 't it 
be a terrible thing if mother meant for me to marry 
someone else, and being sick as she was, said the name 
Laddie by mistake. 



8 THE HEART OP A SHAMROCK 

Bob. Why, whom else could she mean ? 

May. I don't know. Can't you think? 

Bob. No, she must have meant our Laddie, because 
anyone with half an eye could have seen that the boy was 
sweet on you as a kid, even. And now that he is a man, 
why, it's the talk of every ranch within a hundred miles. 

May. Sure, I wonder if he does love me. 

Bob. Good Lord! You don't doubt it, do you? 

May. No, no, of course not. I 'm just talking to hear 
the sound of me own voice, I'm thinking. We wouldn't 
be women if we didn't make a little trouble for our- 
selves, Bob. [She unpins a rose from her waist.J^ After 
all, life is much the same as this flower. I grew this in 
the schoolhouse window where it was warm and sunny. 
I made a little mistake to-day when I forgot and took 
it out into the air and sunshine, and now it will die, and 
all my care of weeks and months is like so much wasted 
time. 

Bob. What has that got to do with life ? 

May. It 's like this : we care for a thing and love it 
for years on end, then one day through very love of the 
thing we make a little mistake. That one mistake kills. 

Bob. What you need is a doctor, my girl. [They 
hoth laugh.'] 

May. No, Bob; what I need is a friend; now, more 
than ever before in all my life. 

Bob. Great guns ! Haven 't you got Jim and me, and 
above all. Laddie? 

May. There is such a thing as having friends who 
love you too much. What I need is a friend who will 
tell me the cold truth, no matter how it hurts. 

Bob. Then I'll be that friend, and here's the truth: 
What you need is some supper and then a warm drink 



THE HEART OF A SHAMROCK 9 

of something and then put to bed like a spoiled child. 
[They both laugh.] If you knew how nice you were 
when you laughed, May, that's all you'd do from sunup 
until it goes to rest. 

May. Bob, me boy, do you forget that I just came 
from the land of blarney? Sure, I haven't forgotten 
its sweet sound. 

Bob. Oh, by the way. Turn around shut your hand ; 
I mean shut your eyes and hold out your hand. 

May [Obeys]. Like this? 

Bob. That's it. Now when I was over at Columbia 
to-day I saw a little present in a shop that was just made 
for you, and here it is. [He lays a string of Indian 
heads in her hand.] 

May [Ope7is her eyes and is greatly surprised]. Oh, 
Bob ! Are these for me ? 

Bob. Who would they be for, the cat? 

May. Sure, a woman must always say that, don 't you 
know? Bob! They're beautiful. [She takes his head 
between her hands and kisses him on the forehead.] A 
kiss to me big brother, and a world of thanks. [She exits 
right, calling:] Oh, Mrs. Donovan, you should see what 
Bob has brought me. [As she exits, she drops her rose.] 

Bob [Picks up the rose and looks at it]. Her big 
brother. Brother! Never will it be more than that. 
[He places the rose in a leather pocketbook and tucks 
it away in his pocket.] 

Father O'Neil [Enters from left. He is dressed 
in his gown and beretta]. And what's out there in the 
kitchen that is of so much interest ? 

Bob [Comes out of his day-dream with a start]. Oh! 
Is that you? 

Father. No, I'm someone else. 



10 THE HEART OF A SHAMROCK 

Bob [Laughingly']. Now wasn't that a fool thing to 
say ? I mean what I said, of course. 

Father [Crossing to the fireplace]. It was, and it 
shows at once that ye have a guilty conscience. Have ye 
been at my tobacco again ? 

Bob. No, not to-day. 

Father. "Which means that you have been at it on 
other days. 

Bob. Now see here, Jim — I mean Father — I never 
will get the hang of that word. 

Father. Whisper! Since ye have such a hard time 
rememberin' that I'm a priest. Whisper again! When 
there's no one about, just call me plain Jimmie O'Neil. 
I haven't forgotten how to love the auld name, and it 
brings to me mind our boys' days at home. 

Bob [Bringing his hand down on his hr other's shoul- 
der] . Father 'Neil, you 're a brick. 

Father [Rubbing his shoulder]. Maybe I am. Also 
I'm a human being and have me feelings just like the 
rest. 

Bob [Laughing]. You're just the man to win over 
every man and boy on these ranches for miles around. 

Father. And that's just why I'm out here, Bob, me 
boy. [He sits on the settle.] Will ye have a segar, Bob ? 

Bob [Takes a segar and sits beside him]. Don't care 
if I do. [They both light and smoke.] I wonder if we 
are to get any supper to-night. It surely must be 
after six. 

Father. Something in me stomach seems to tell me 
that I could do justice to a square meal. 

Bob. I'll see Mrs. Donovan. 

Father. You'll do nothing of the kind. That lady 
is not to be spoken to whin she's in her own kitchen. 



THE HEART OF A SHAMROCK 11 

Cooks and kings, Bob, are the most indepindent people 
on earth. 

Mrs. D. [Off stage right]. Well, npon me soul! I 
never heard the loike of this in all me born days. Father 
O 'Neil— Father O'Neil, I say. 

Father. Bob, something in me bones seems to tell 
me that supper will be delayed at least a half hour. 

Mrs. D. [Enter right]. Father O'Neil, is it here ye 
are? [She is greatly agitated and mops her face with 
apron.] 

Father. Yes, me good soul. Is there any thing 
amiss? 

Mrs. D. There is that. 

Father. Is the kitchen chimney afire again? 

Mrs. D. It's worse than that. I'm givin' ye me 
notice. 

Father. And when are ye going to leave ? 

Mrs. D. I don 't know yet, but I 've started on me way. 

Father. Me dear woman, would ye mind just drop- 
ping a hint as to what the trouble might be ? 

Mrs. D. I've been insulted in me own kitchen. 

Father, And who has done this? 

Mrs. D. Gad. Oh, she's a impident baggage, so 
she is. 

Father. And what has she been up to ? 

Mrs. D. It's this way, Father. I'm a peaceable 
woman, ye can say that fer me. 

Father. One of the most peaceable in all the world. 

Mrs. D. Thin it's this way: I say to Gad, sez I, 
**Wash ye hands and face." Sez Gad to me, sez she, 
*'wash ye own and set me an example." 

Father. Lly, my. This is a terrible state of affairs. 

Mrs. D. I calls it a downright revelution, so I does. 



12 THE HEART OF A SHAMROCK 

Father. We must do something for the child at once. 

Mrs. D. The sole of an auld shoe layed where it 
would do the most good was a foin remedy when I waz 
a gurl. And that ain 't so many years ago, naither. 

Father [Winking at Boh] . I must have time to think 
this matter over. 

Mrs. D. Take all the toim ye soul wishes fer, only 
this I will say, there'll be no supper until we have the 
matter settled. 

Father. In that case, I need no time to think the 
matter over at all, at all. [Walks up to door right.] 

Mrs. D. This all comes o' readin' about Deadeye 
Dick and his band of daredivils. 

Father. What's this I hear? 

Mrs. D. It's the truth I'm tellin' ye. 

Father. And where did she get such a book? 

Mrs. D. From the devil himself, I make no doubt. 
Sure, the ways of the auld boy are strange and clever. 
I've heard me own mother say as much. 

Father. [Calls off right.] Gad. Gad, come here 
this minute. [To Bob and Mrs. D.] Now mind ye, keep 
straight faces and don't make me laugh. 

Mrs. D. I fer one couldn't laugh this minute; no, 
not if I waz ter be paid fer it. 

Gad. [Enters right.] Did you call. Father? 

Father. I did ; come here. [By one of her curls he 
gently leads her to the center of the room.] Now, why 
don 't ye obey Mrs. Donovan here ? 

Gad. Aw, she is always — 

Father. Silence ! Answer me in a word. 

Gad. She — 

Father. Stop ! Ye are to call Mrs. Donovan Mrs. 
Donovan and not '^she." Do ye mind? 



THE HEART OF A SHAMROCK 13 

Gad. Yes, Father. 

Father. Gad, I'm ashamed of ye. Ashamed! Didn't 
ye promise me to be the best of little girls if I took ye 
out here with me ? 

Gad. Yes, Father. 

Father. And this is how ye repay me and Mrs. 
Donovan here who is trying to be a mother to ye. Oh, 
Gad, ye make me feel ashamed for ye ! 

Gad [When she sees that Father is affected hy her 
conduct, she goes into his arms and breaks down, cry- 
ing} . I 'm — I 'm — sorry. 

Father. There, that 's what I wanted to hear ye say. 

Gad. You see I never had no bringin' up when I 
lived in New York and now I sometimes fergit that I 
must be a lady like you said. 

Mrs. D. [Takes her in her arms and wipes her eyes 
with her apron]. There, ye poor child. Come to me 
arms, Acushla. [To Father and Bob.] I should think 
that two great strong men loike yeselves would have 
something better to do than to make a child cry like 
this. There, there, me darlint. 

Father [Aside]. Bob, there be some men that say 
they understand women. 

Mrs. D. We'll be havin' supper now in ^Ye minutes. 

Father. 'Tis a great blessing, Mrs. Donovan. [Mrs. 
D. and Gad cross to door right.] One minute, Gad. 
Where is this ''Dare Devil Dick" I hear about. 

Gad. Where's what. Father? 

Father. Ye heard what I said. Where is this * ' Dare 
Devil Dick"? 

Gad. Out under the sink. 

Father. And that's a fine place for him too. I'll 



14 THE HEART OF A SHAMROCK 

be askin' ye to let me take a peep at that classic you be 
readin' so assiduously these days. 

[Gad loolis up at Mrs. D.] 

Mrs. D. Run along and get the book fer Father 
O'Neil, like a good child. 

Gad [To Father [. You won't scold? 

Father. We'll be takin' a look at the book first 
before we promise. 

Gad. I want you to promise first. 

Father. I promise, then. 

Gad. All right, I'll get it. [Exits right.'] 

Mrs. D. Dear me! Here I stand a talkin' when I 
bet the supper is burned to a crisp. 

Father. Then see to it, Mrs. Donovan. 'Twould be 
a pity to have it burn. 

Mrs. D. I '11 see to it at wance. [Exits right. When 
she has gone Father and Bob nudge each other and 
enjoy a quiet laugh.] 

Father. Between Mrs. Donovan and Gad I'll go to 
an early grave from laughing. 

Bob. That Gad is a card. 

Father. She's a whole deck of them, and the old 
one is a joker. [They hurst out laughing afresh.] 

Bob. I think it is the greatest thing ever how you 
came to bring Gad out here. 

Father. Nonsense! 'Tis the most natural thing in 
the world, as I 'v told ye a thousand times. I found the 
poor creature almost dead in the streets of New York 
and says I to meself, ''Jimmie O'Neil, here's a chance 
for ye to do a charitable act and become a family man 
all at the same time." So I adopted her, as it were, as 
here she is. 



THE HEART OF A SHAMROCK 15 

Gad. [Enters right with a yellow covered novel which 
she hands to Father.] Here it is, Father. 

Father. [Reads the title.'] ^'Daredevil Dick or The 
One-eyed Bandit of the Hills." Aw! And that's a 
pretty title. You'll be reading no more of these things, 
I'm thinking. 

Gad. Aw! Why not? 

Father. Because I say so. Hereafter I '11 furnish ye 
with all the reading matter ye need. Sure, there are 
plenty of good books in the world without reading such 
trash as this. 

Gad. Will you get me some book, then? 
Father. I will; now run along. 
Gad. Oh! Gee! That'll be great. [Runs to door 
right,] 

Father. Just a minute. Gad. I should like to know 
the name of the person who put such a book in ye hands. 
'Tis a piece of my mind they'd get. 
Gad [Pointing to Bob] . Why, Bob gave it to me. 
Father. What ! 

Bob. I guess I'll feed my horse. [He picks up his 
hat and coat and exits D. I. F.] 

Gad. Oh! I guess I said too much. [Exits door 
right.] 

Father. [Crosses to fireplace. He is about to tear 
the novel up. He stops.] Ever since I was a boy I've 
desired to read one of these things. I guess I'll save it 
and look it over when I get the time. [He folds it up 
and puts it in his pocket.] 

Laddie. [Enters D. I. F. He removes his hat and 
coat.] Phew ! 

Father. Getting colder, Laddie? 

Laddie. Yes, and there'll be snow before morning. 



16 THE HEART OF A SHAMROCK 

Father [Crossing to the organ and picking up a 
hook]. 'Twill be hard on the cattle, I fear. 

Laddie [In a surly manner'] . I suppose so. [He goes 
to fireplace and warms his hands. There is a brief 
pause and the Father comes over and lays his hand on 
Laddie ^s shoulder.] 

Father. Laddie, me boy ; what is it ? 

Laddie. [Turns and speaks in a churlish ione.] . 
What's what? 

Father. What has been troubling ye for the week 
past? 

Laddie. Nothing. 

Father. There is something, and I have a right to 
know what it is — to help ye. 

Laddie. You have no right to pry into my private 
affairs. 

Father. When I see my brother changed from a 
light-hearted boy into a morose old man within a week's 
time, I have not only the right to know the cause, but it 
is my duty to wipe out that cause if I can. 

Laddie. For heaven's sake, don't begin to preach. 

Father. Sure, I have no such intentions. Laddie ; I '11 
leave that for Sunday. Come, be a man and tell me 
what it is. 

Laddie. There is nothing, I tell you. 

Father. Just forget that I am a priest and remem- 
ber that I'm your brother— let's have it out, man to man. 

Laddie. It's all very well for you to talk. You're a 
priest and have things easy here, and — 

Father. Easy, do ye say ? God be praised ! 
Laddie. Yes, easy. What have you to do with the 
world? Saving souls is your business. I don't see why 
when a fellow is a priest that he should take it upon 



THE HEART OF A SHAMROCK 17 

himself to interfere in the every-day lives of his fellow- 
man. 

Father. There 's a bit of truth in what ye say, Lad- 
die, and the Lord deliver me from being what we call 
in this enlightened day a "butinsky." Saving souls is 
me business, and so is fighting sin. Now when a man is 
sick or when he is in trouble, that to me is a mild form 
of sin, and I'm for giving it a fight. 

Laddie. I can fight my own battle. 

Father. I'm glad to hear that. 'Tis a weight from 
me mind. 

Laddie. The whole family seems to think that I am 
still a boy. 

Father. I sometimes wish ye were. Laddie. I was 
only speaking for your own good; I thought you might 
have been so unfortunate as to get in trouble of some 
sort. 

Laddie [Suspiciously]. What kind of trouble do you 
mean? 

Father. 'Twas of the Crystal Palace I'm thinking. 
You spend a great deal of ye time there, Laddie, that 
you'll admit. 

Laddie. Well, and what if I do ? 

Father. Sure, the place is nothing but a gambling 
hell, and the company ye must meet there cannot as 
a matter of course be the best in the world. 

Laddie. If you're going to start that 'again, I'll just 
look for another place to live. 

Father. Don't be a fool. Lad. Listen to me, just a 
minute. For the last week or more ye have been an- 
other man entirely. I can't make out what it is and 



18 THE HEART OF A SHAMROCK 

ye won't tell me. When ye find, Lad, that ye are out 
in the deep waters, come to me, not as a priest, and I'll 
help ye as becomes a brother. [Crosses to door right. 1 
No one ever came to Jimmie O'Neil when he wouldn't 
lend a hand and the Father 'Neil is that same. [Exits 
right.] 

Joan [Enters D. I. F.]. Hello, people! Am I late 
for supper? [She hangs up her hat and coat.] 

Laddie [Greatly changed from his gloomy manner, 
he is pleased and animated when in the presence of 
Joan]. Joan! I didn't expect you over to-night. 

Joan. I'm not like your friend May, Laddie. I'm 
not afraid of the weather. 

Laddie. — Come and sit down by the fire. 

Joan [Sitting before the fire]. Thanks. Where is 
everybody ? 

Laddie. Out in the kitchen, I guess. 

Joan. Aren't you going to call them in? 

Laddie. Not so as you could notice it, I'm not. I 
don't often get the chance of having you all to myself. 

Joan. Now don't begin that again. Don't make love 
to me. If there is one thing I detest more in this world 
than another, it's a mushy man. 

Laddie. You'll drive me wild yet. 

Joan. Now don't be a boy. 

Laddie [His surliness returning]. If loving you is 
being a boy, then I'm a boy. 

Joan. Don't you think you're a bit presumptuous, 
making love to me when you are already engaged ? 

Laddie. I'm not engaged. 

Joan. Oh, but you are, you see. It was the wish of 



THE HEART OF A SHAMROCK 19 

May 's mother that you and she should wed, and Father 
O'Neil brought her over here for that pui-pose. 

Laddie. And I suppose I have nothing to say in the 
matter, eh? 

Joan. Have you told her that you will not marry 
h«r? 

Laddie. No. But promise me that you will be my 
wife and I'll tell her to-night. 

Joan. I'll promise nothing of the sort. You must 
take a chance if you hope to win a prize. 

Laddie. I will have you, if it's the last thing I do 
on earth. 

Joan [Laughs] . You see I am not like our Irish rose, 
May. I am not to be won for the asking. The man I 
marry must be a man who can do things. Why, you 
haven't even a position and you talk of taking a wife. 

Laddie. Joan, you'll go too far with that kind of- 
talk. 

Joan. Now, my nice little boy, don't try to frighten 
me with your wild looks and big words. I don't scare 
worth a cent. 

Laddie. Why I — 

Joan. Now keep cool and listen to me. Your rela- 
tions may have to stand for your boorishness and bad 
manners, but you must remember that I am not so 
unfortunate as to be among their number. 

Laddie. Then why do you plague me ? Why do you 
hate me? 

Joan. I don 't hate you ; far from it. And I plague 
you just to see if I can't plague some ambition into you. 

Laddie. What do you expect me to do, join Crowley 
and his gang of bandits and hold up a train or 
something ? 



20 THE HExVRT OF A SHAMROCK 

Joan. And why not ? Crowley and his gang of ban- 
dits are at least men. They do things. They don't hang 
around saloons and gambling places all day and moan 
at fate because they have no money. They get it. 

Laddie. And you would like to see me like that? 

Joan. I didn 't say so ; though they at least have the 
virtue of not being lazy. 

Laddie. Joan, you'll drive me to do something like 
that, to become like that some day. 

Joan. You a bandit? [LaiigJisJ] "What a picture! 

Laddie. I have changed already since I first met you. 
They have all noticed it here in the house and have 
questioned me about it. They know there is something 
eating at my heart, though they never guess that it is 
you. 

Joan. Why don't you tell them? 

Laddie. And be laughed at? 

Joan. Laddie, boy, we may as well understa.nd each 
other. I have been used to money all my life and I 
would never make, as you can see, a good mate for a 
poor man. My advice to you is get the money. 

Laddie. And you wouldn't care if I joined Crowley 
and his gang and got it that way? 

Joan. You wouldn't dare. 

Laddie. I 'd dare anything for you. [His voice drops 
into an intense whisper. '\ Listen ! I know Crowley and 
his men ; I met them at the Palace. I can join them on 
a minute's notice. Say the word and I'll become one of 
his men. 

Joan. Is this the truth? 

Laddie. Every word of it. 

Joan. I don't believe it. 

Laddie. Try me and see. 



THE HEART OF A SHAMROCK 21 

Joan [After a pause'] . I dare you. 

Laddie. Do you mean that? 

Joan. Are you weakening already? 

Laddie. Say that you love me. 

Joan. I — I — I — 

Laddie. Say it. 

Joan. I dare you. 

Laddie. I'll do it! To-night! 

Bob [Enters D. I. F. Removes his hat and coat] . If 
we don 't have one of the worst blizzards before morning, 
I don't know the weather. 

[Father, Gad, May and Mrs. D. enter door right. 
May and Mrs. D. each carry a platter of food; these 
they place on the table. Laddie goes left.] 

Father. Here we are at last. Hello, Joan. 

Joan. Good evening, Father O'Neil. 

May [Aside to Laddie]. What's the matter. Laddie? 
Why do ye look so down-hearted? 

Laddie [Boorishly]. Oh, it's nothing! [Exits left.] 

Mrs. D. Come now, good people, and set down before 
the supper gets cold entirely. 

[The company gather about the table.] 

Joan. What are Crowley and his gang of bandits 
doing these days. Bob? 

Bob. Keeping very quiet for some reason or other. 

Joan. Is that a good sign or a bad one. 

[They are all seated about the table. Laddie enters 
left and takes his place with the others. All how their 
heads as Father silently asks blessing. Mrs. D. starts 
to serve.] 

Bob. It's a bad sign, I take it. 

Father. How do ye make that out, Bob? 



22 THE HEART OF A SHAMROCK 

Bob. It shows they are thinking up some new 
deviltry. 

Father. "Will it go very hard with them if they are 
caught ? 

Bob. It will. They'll hang; every mother's son of 
them. 

Joan [Alarmed]. Hang? 

Mrs. D. Sure, I'll not be gettin' a dacent night's 
sleep until Bob here has caught the lot of thim. There 
waz a bad man, the loike of Crowley, and his gang at 
home in the auld country, I've heard me mother say; 
and the divils stole auld Widow Corrigan as she lay 
ashleep wan foin night. They did thot, bed and all. 
[General laughter.'] 

Father. Is that the truth, Mrs. Donovan? 

Mrs. D. It is, Father, every word. 

[Grizzly Adams enters B. I. F. He is out of hreath 
from running.] 

Adams. Is the sheriff at home? 

Bob [Eising]. Right here, Grizzly. 

Adams. You're wanted, Sheriff, over at the Post 
Office. 

Bob [Getting into his coat]. Is it important? 

Adams. It's more than that. Crowley and his men 
are out. 

Father. What ! 

[Everybody on their feet.'] 

Adams. Word has just been received down at the 
station that they are fixin ' to hold up the Black Diamond 
Si>ecial when she comes through here. 

Bob. I advise you folks to keep in doors, there might 
be danger and trouble. 



THE HEART OF A SHAMROCK 23 

Adams. I guess they're fixin' to get some of that 
shipment of gold by the American Express. 

Mrs. D. If they'll be bullets flyin' about, I'll spind 
the night in the cellar. 

Adams. And that ain't fool's advice neither. 

Bob. Grizzly, here's where we finish up the Crowley 
gang. 

[Laddie has put on his hat and coat and now comes 
down and speaks to Joan aside.] 

Laddie. Say that again. 

Joan. Say what? 

Laddie. What you said before. 

Joan \_A hit frightened]. You heard me then. 

Laddie. Who's backing down now? 

Joan [With a return of her old fire']. I dare you, 
then; I dare you! 

Laddie. I'll do it. {He starts for D. I. F.] 

Bob. Where are you going, Laddie ? 

Laddie. To the devil. [Exits.] 

Bob. Come on, Grizzly. 

Grizzly. Right ! 

[Bob exits, followed hy Adams.] 

Father. Poor men, my heart goes out to them. • 

Gad. It serves them right if they're caught. They're 
robbers, ain't they? 

Father. That may be, Gad, but they are human 
beings and brothers to us all. 

Gad. Don't they kill and steal? 

Father. Perhaps. But they are men of flesh and 
blood and children of God, and God help them, they're 
just mistaken, that's all. 

CURTAIN. 



24 THE HEART OP A SHAMROCK 

ACT II. 

A FEW HOURS LATER. 

[At rise:-— The table has been cleared. Mrs. D. is 
discovered seated before the fire, sound asleep, her stock- 
ings and darning in her lap. Father enters, removes 
his hat and great coat, comes down stage and looks at 
Mrs. D. for an instant.'} 

Father. Mrs. Donovan — ^Mrs. Donovan. 

Mrs. D. [Comes out of sleep with a start and vigor- 
ously resumes her knitting]. Have ye returned, Father 
O'Neil? 

Father. Just this minute. Have ye been asleep? 

Mrs. D. Not a bit of it. I have a habit of sitting 
with me eyes shut when I am deep in thought. 

Father. I understand. 

Mrs. D. Did ye see Joan safely home? 

Father. I did. Is Gad abed? 

Mrs. D. For this hour past. Is there any news of 
Crowley and his gang? 

Father. Not a word. 

Mrs. D. Thin I'll be after goin' to me bed. 

Father. I'll take a look about the church and I'll 
be doing that same. Good night, Mrs. Donovan. 

Mrs. D. Good night. Father, and God bless ye. 

[Father 'exits left. May enters right.} 

May. Are you still up, Mrs. Donovan? 

Mrs. D. The saints look down upon us ! And Mary, 
child, and what are ye doin' out of bed at this hour? 

May. Sure, I couldn't sleep at all. I just laid there 
with me eyes wide open and thought and thought and 
thought. 



THE HEART OP A SHAMROCK 25 

Mrs. D. And about what? 

May. About many things. 

Mrs. D. Sure, girls are the funny creatures. I don 't 
understand thim and I'm one meself. Well, good night 
to ye, Acushla. [Exits right.~\ 

May. Good night, Mrs. Donovan. 

Mrs. D. [7^ heard yawning off stage right] . Ah, me ! 
'Tis a sad world we're livin' in. And it's the lucky 
wans that get out of it alive. 

[May exits left. Gad enters fully dressed, hut with 
a quilt wrapped about her.] 

Gad. Gee, but it's cold and I can't sleep a wink. I 
wonder what Father O'Neil did with my ''Dare Devil 
Dick." [She comes down to the fireplace, gets down on 
her hands and knees and looks under the settle. Laddie 
enters D. I. F. He does not see Gad and is greatly 
agitated. He goes to bookcase and from behind it he 
takes a Winchester rifle. Gad looks up and sees him.] 
Hello, Laddie. 

Laddie [Starts at the sound]. What the devil are 
you doing up at this hour? 

Gad [Frightened]. Why, Lad. 

Laddie. Answer me. 

Gad. I — I — I — couldn't sleep. 

Laddie. — Where is everybody? 

Gad. In bed, I guess. 

Laddie. — Now you listen to me. If anyone asks you 
whether you have seen me; you haven't, you under- 
stand ? 

Gad. What's the matter? 

Laddie. None of your business. If you want to keep 
out of trouble, just remember that you haven't seen me. 
Now get to bed. 



26 THE HEART OP A SHAMROCK 

[May enters left. She takes in the situation and crosses 
unobserved to I). I. F.'\ 

Gad. All right, Laddie, I'll go. [She goes to door 
right.'] 

Laddie. You mustn't be frightened, Gad. You see, 
this is just a joke on Bob. You won't tell anyone that 
you saw me, will you ? 

Gad. N-n-n-n-o. 

Laddie. — Then go to bed like a good kid. 

Gad. All right. Laddie. 

Laddie. Why do you look at me like that? 

Gad. I-I-I-don't know. There's something in your 
eyes that frightens me. G-g-g-g-g-ood night. 

[She exits door right. Laddie starts to exit D. I. F., 
when he meets May standing at the door. He starts 
hack.'] 

Laddie. You ! 

May [In a semi-whisper]. Laddie. What is it? 

Laddie. What's what? What do you mean? 

May. Why did ye frighten Gad? 

Laddie. I was only fooling with the child. 

May. There 's something more than that behind your 
actions ; I can read it in your face. 

Laddie. You can read too much for your own good. 

May. Has anything happened to Bob ? 

Laddie. How should I know? I'm not his keeper. 

May. Laddie, your brother Father O'Neil and the 
others expect us to be man and wife some day — 

Laddie. Well, what of it? 

May. You're not the same Laddie we all loved; 
you're not the same this last week past. What is it, 
Laddie boy. If it's trouble ye are in, sure who has a 
better right to help ye than meself ? 



THE HEART OF A SHAMROCK 27 

Laddie. Confound it! Must the whole family attend 
to my private affairs? 

May. It's because we all love ye. 

Laddie. Yell all do better to keep your love until 
I ask it. 

]\Iay. Do ye mean that? Do ye realize what those 
words mean? 

Laddie. I know what I am saying. Now stand away 
from that door. 

May. It means the end between you and me, Laddie. 

Laddie. Take it any way you want to. 

May. Eemember, then, 'tis you that breaks the en- 
gagement, Laddie, and not I. And ye '11 be breakin' 
the hearts of all of us next. 

Laddie. I know my own business best. I'm not a 
boy. 

May. Ye were in your heart until ye made com- 
panions of drunkards and gamblers. Now go. And 
whatever it is ye are up to, may God watch over and 
keep ye from harm and wrongdoing. [She stands aside 
from the door as Laddie goes up to it.'] 

Laddie. If you have one spark of love in your heart 
for me, May, tell no one that I have been here since 
supper time. 

[He exits D. I. F. When he has gone, May closes the 
door after him and leans against it, her head in her 
arms, crying softly to herself. Father enters left.] 

Father. I thought I heard Laddie's voice. — May — 
Acushla — child — what is it? 

May. Sure, I'm just exercising a woman's right and 
am having a nice little cry all to meself . 

Father. And what about, child? 



28 THE HEART OP A SHAMROCK 

May. And what does a woman usually cry about? 

Father. Many things, I always thought. 

May [Smiling through her tears']. That's because 
you're a man. Here's a bit of feminine philosophy, 
Father : A woman when she has something to cry about, 
is ahvaj^s brave and never sheds a tear. And when she 
has nothing to cry about, she cries because she has 
nothing to cry about. 

Father. Then cry no more, me dear. You're sweeter 
w^hen you smile. 

May. That's what Bob said. 

Father. Did he, though ? And now whisper ! How 
are ye and our Laddie getting on? 

May. Haven't you noticed? 

Father. I've noticed that the boy is deeply in love 
with ye, sure we all see that. 

May. You've noticed nothing else? 

Father. Yes ; I 've noticed that the boy has not been 
himself for these ten days past. And it worries me, 
too, it worries me greatly. Ah, well! Perhaps he has 
a lesson to learn, we all do, ye know, 'tis the way of 
nature. 

May. If he has a lesson to learn, I hope he can learn 
it without harm to himself. 

Father. I have talked with him on the subject; now 
we can only hope and pray. [He looks at his watch.'] 
Upon me soul, it is close to eleven o'clock. Come, May, 
ye must not be missin' your beauty sleep. 

May. Sure, I had no idea it was that late hour. 
Good night. Father. 

Father. Good night, me child. [May exits right. 
Father locks the D. I. F., humming softly to himself. 
He takes off his frock coat and in his shirt sleeves he 



THE HEART OF A SHAMROCK 29 

sits hefore the fire. He takes the yellow covered novel 
from his pocket, tucks it under his arm and then lights 
Ms segar.] Now we '11 have a look at ' ' Dare Devil Dick" 
and his gang of one-eyed dare devils. [Opens hook and 
reads.] "Bang! Bang! Bang! Three shots rang out 
on the midnight air and twenty-five redskins fell dead 
in their tracks." — Three shots and he kills twenty-five. 
That man was a good shot. — ' ' Revenge ! Revenge ! Re- 
venge! shouted our hero and he danced the Highland 
Fling." — Sure, it starts out interesting, I will say that 
for it. [A shot is heard in the distance, off stage. 
Father is on his feet in an instant.] The saints look 
down upon us. What was that ? [He goes to the window 
and looks out.] Sure, I might as well be killed as scared 
to death in this way. [He resumes his reading at the 
fire. There is a pause.] " 'Now,' said Dare Devil 
Dick" — [There is a knock at the door. Father quickly 
puts the hook in his pocket and opens the door. Adams 
enters.] 

Adams. All quiet about here ? 

Father. Everything's as still as a mouse; in fact, 
it's as still as a couple of mice. 

Adams. Did you hear a shot a while ago? 

Father. I did. 

Adams. Guess I'll be gettin' home to bed. 

Father. Has anything been heard of Crowley and 
his gang? 

Adams. The Black Diamond Special went through 
here over an hour ago, though Sam Williams says that 
the Sheriff and the boys met the gang up above the water 
tank a while back and caught Crowley with the goods. 

Father. Anyone hurt? 



30 THE HEART OF A SHAMROCK 

Adams. Not a soul, Sam says. Funny about that 
shot, wasn't it? 

Father. How do you account for it? 

Adams. There's only one accountin' — the boys must 
have missed one of them and then they spotted some 
feller gettin' away and they took a shot at him. Well, 
good night, Father. 

Father. Good night, Grizzly. [Adams exit and 
Father closes and locks the door after him.'] Now for 
me ''Dare Devil Dick." [Goes to fire and continues to 
read. There is another knock at the door.] At this 
rate I won't have the book finished for a year or more. 
Who's there? 

Voice [Calls through the crack in the door.] Open! 
Quick! For God's sake. 

[Father opens the door and Laddie stumbles into the 
room. He has been wounded in the left hand, which is 
hound in a handkerchief.] 

Father [Locking the door.] Laddie! In the name 
of heaven, boy, what is it ? 

Laddie. Put out the light and lock the door. [He 
falls into the chair down left. Father Mows out the 
lamp; the room is in semi-darkness.] 

Father. What has happened? You've been shot. 
Who has done this ? 

Laddie. That damned brother of mine. 

Father. Laddie ! Mind what ye are saying. 

Laddie. I know what I'm saying, well enough. He 
did it and it will be him that puts the hangman's noose 
about my neck. 

Father, Laddie, you can't know what ye are saying. 

Laddie. Don't I, though? With this hand I can't 
get five miles without their tracking me down. 



THE HEART OF A SHAMROCK 31 

Father. Tell me what has happened. 

Laddie. I was riding with Crowley and his men 
to-night. 

Father. Laddie ? You ? My brother a hold-up man, 
a thief? 

Laddie. There you go, preaching again. It was your 
everlasting and infernal treating me as if I were a child 
that drove me on to this. I wanted to show you all 
that I was a man. 

Father. You mean, you wanted money and didn't 
want to work for it. 

Laddie. What does it matter, so long as I was willing 
to gamble with death to get it? 

Father. Poor May. Poor little May. 

Laddie. Oh, she'll get over it, and besides I'm not 
woriying about her. I have myself to think of now. 
It means a short shift and a tight rope if they find me 
here. 

Father. Does Bob know that ye — 

Laddie. I don't think so. He and the boys cornered 
us down at the water tank — there was a fight — three of 
Crowley's men w^ere shot and two of the posse went 
down. I alone escaped. — I came back here for m}" rifle, 
intending to get away, when I ran into the posse and 
their prisoners. One of Crowley's men, like a fool, 
called out to me — I ran for it — I turned just in time to 
see Bob fire and — oh — confound this hand of mine — if 
they hadn't winged me I'd have shown them a trick 
or two. 

Father. Then you wasn't in the fight? 

Laddie. No. 

Father. Have ye ever rode wdth Crowley and his 
men before? 



32 the heart of a shamrock 

Laddie. No. 

Father. Thank God for that. You're still clean and 
I can help ye. 

Laddie. You 11 have a hard job of it, the hardest you 
ever tackled in your life. This means the rope, I tell 
you. 

Father {Pointing to door left]. Go into the church 
and wait for me there. 

Laddie [Rising] . And all this for a woman, and one 
who maybe doesn't love me at that. 

Father. You know May loves ye and please be man 
enough to keep the blame of this from her innocent 
head. 

Laddie [Walks to door left]. I don't mean May. I 
have ceased to love her long ago ; there is another now. 
Father. And May? 

Laddie. Can only be my friend and sister, and even 
in that way I guess I don't deserve her. 

Father. Why didn't ye tell me this long ago? Oh, 
Laddie, I don't deserve this; ye didn't play the game 
fair; ye didn't play up like a true O'Neil. [There is 
a knock at D. I. F.] Sh-h-h-h-h-h-h ! Go into the 
church. 

Laddie. If it's Bob, you can tell him for me that I 
will stand for no fooling. [He pats his six-shooter.] 

Father [Looking out of the window] . Go ! Don 't 
try to escape by the front door; some of the boys are 
out there now. [The knock at the door is repeated.] 
Go ! [Laddie exit door right. Father opens D. I. F.] 
Come in. 

Bob [Enters]. Hello. Are you still up? 

Father. I've been waiting to hear the news. 

Bob [Hanging up his coat] . Caught them all, that is. 



THE HEART OF A SHAMROCK 33 

all but one. You haven't seen a stray bandit about, 
have you? 

Father [As he lights the lamp]. And what would 
a bandit be doing here? 

Bob. Well, you never can tell. 

Father. And do ye think I'd keep him. here? 

Bob. And why not? You're big hearted enough to — 
[Looks down at 'the floor.] I thought so! There's his 
tracks now. I had an idea I saw him. go through this 
door. [Draws his six-shooter a7id points it at door left.] 

Come out ! Come out, whoever you are, and keep your 
hands above your head. 

Laddie [Enters with his hands upraised]. Well? 

Bob [Starts hack in great surprise] . Laddie ! 

Laddie. Well ? 

Bob. I can't believe it. 

Laddie. Well, it's true, if that's any satisfaction. 

Father. Bob, Bob, ye won 't give him up ; you '11 let 
him go? 

Bob. Your duty was to save him if you could ; mine 
is to^ — to hand him over to the law. 

Laddie [To Father]. Didn't I tell you he'd be the 
first one to put the rope around my neck? 

Father. Don't say that. Laddie, I can't bear it. 

Bob. I'd sooner Crowley had put one of his bullets 
into me when we had the fight out there, than to have 
had to come home and face this. 

Laddie. Talk's cheap. 

Bob. God! What have I done, that this should be 
upon me? 

Laddie. Never mind praying; get the business over 
as soon as possible. 

Father. Bob, is there no hope? 



34 THE HEART OF A SHAMROCK 

Bob. None. I must give him up, even though it 
tears the heEurt out of me. Laddie, boy, why, why did 
you do it? 

Laddie. You're the sheriff, not the judge. 

Father. He committed no crime, he wasn't even 
with the hold-up men. Neither to-night nor any other 
time. 

Bob. He'll have to explain that to the judge. He 
was recognized by one of them. 

■ Laddie. Tell it to the judge? Yes, Judge Lynch. 
Don't look for hope, Jim, where there is none. 

Father. With God, there is always hope. I'll go 
into the church and pray. [Exit door left.] 

[May enters door right. She listens, unobserved hy 
the others.] 

Laddie. Well, what are you going to do with me ? 

Bob. Hand you over. 

Laddie. And see me hang? 

Bob. If you are innocent — 

Laddie. All the evidence in the world would never 
convince these half-civilized ranchmen. 

Bob. Laddie, boy, it's my duty, can't you see it? 

Laddie. I can see that you're looking for glory and 
with me out of the way, you will have a clear field for 
May. 

Bob [His anger getting the better of hint]. Don't 
say that. Lad. Don't! Or I'll bend this gun across 
your head. 

Laddie. If that bunch of cut-throats are out there, 
call them in. I want to get this thing oyer as soon as 
possible. 

Bob. Oh, Lad! Can't you see? You have broken 
the hearts of all of us. [He drops into a chair and buries 



THE HEART OF A SHAMROCK 35 

his face in his hands. With a flash-like movement 
Laddie draws his own six-shooter and covers Bob.] 

Laddie. Now if that bunch expect to take me alive, 
they'll have to fight like hell! 

Bob. Don't be a fool, Lad. Put that gim down. 

Laddie. Don't you make a bad move or I'll fire. 

Bob. I wish you would. Shoot! In God's name, 
shoot. It will be easier to die than to hand my own 
brother over to the law as a thief and a hold-up man. 

Laddie [Blind with rage]. Don't drive me too far 
or I will. 

Bob. If you have a spark of manhood left — shoot I 

Laddie. By heaven ! I will — 

May [Coming between them and speaking very 
quietly]. No, Laddie, you will not. 

Bob. May 1 

Laddie. Do you think I will go to the slaughter 
these fellows are fixing for me, without a fight? 

May. You have broken the law. 

Laddie. I am innocent. 

May. Then prove it. 

Laddie. That gang will never believe me. They think 
I am one of Crowley's men and that's enough to hang 
me. 

May. Bob, can ye let him go until this thing blows 
over and he can come back and prove himself an inno- 
cent man? 

Bob. Don^t ask me that. May. M.y duty is plain 
before me. I must hand him over and to-night. 

Laddie [To May]. There! Are you satisfied? Be- 
fore I'll let him give me up. 111 — [Raises his six- 
shooter.] 

May. Laddie! Give me that gun. 



36 THE HEART OF A SHAMROCK 

Laddie. Do you think I am a fool? 

May. No, but I think that deep in your heart there 
is still a spark of manhood. Give me that gun. [He 
hands her his six-shooter, which she passes to Bob.] 
Bob, will ye let him go? 

Bob. Don't ask me to do that, May. Anything in 
the world but that. 

May. Think of what he means to me, Bob. Think. 
It is I, your old friend — the girl who — who — respects 
you, asks it. For my sake, Bob. 

Bob. Do you know what you are asking. May? 

May. Yes. 

Bob. I have given my word to do my duty as a 
sheriff and if I let him go I am breaking my word. 

May. You need not break your word. Let him go 
for six months, until the fire in the hearts of these men 
has died out. Then he will come back and stand trial. 

Bob. For your sake, then. [To Laddie.] Do you 
promise to come bacl^ in six months? 

Laddie. I promise. 

Bob. By the honor of our dead mother, do you swear? 

Laddie. I swear. 

Bob. Then here 's your gun. — Here 's some money. 
At the side door of the church you will find my horse. 
Wait in the church for five minutes. I will call the 
boys in here and then you can go. 

[Laddie holds out his hand to Bob.] 

Bob. When you come back, I will take it. Not now. 

Laddie [Holds out his hand to May]. May. 

May [Takes his hand]. Good bye, Laddie — and it is 
for a longer good bye than ye dream of now. — Good bye 
and God bless and keep ye. 

Laddie. Good bye. [He exits left. Bob drops into a 



THE HEART OF A SHAMROCK 37 

chair and buries his head in his arms across the table. 
May goes to him and lays her hand on his shoidder.'\ 

May What is it, Bob ? [She kneels beside him.] 

Bob. May, I have broken my word to my fellow 
man. 

May. No, ye have not, Bob, as time will show. 

Bob. Poor Laddie, my heart goes with him, just like 
your own, poor May. 

May. My blessing goes with him. Bob, but my heart 
stays here. 

Bob. Your heart stays here? 

May. 'Tis true. Bob. Do ye know what I mean. 

Bob. I can only think of one thing. 

May. And that is ? 

Bob. Until Laddie comes back, I cannot look my 
fellow man in the eye. I'll go away until the boy comes 
back and proves his innocence. It will be easier that 
way. 

May. Will you go alone ? 

Bob. Alone. 

May. Ye wouldn't be wantin' to take a wife with ye ? 

Bob. Take a wife with me? 

May. 'Tis lonesome traveling alone, I've heard. 

Bob. Where is there a woman w^ho would marry me ? 

May. I know one. She's not a veiy good one, but 
then she'll do in a pinch. 

BoB» Do I know her? 

May. I think so. A great many people thought she 
loved your brother Laddie, and so she did, but only as a 
brother, and he loved her only as a sister. 

Bob [As one in a dream]. May! May! What are 
you trying to tell me? 

MxVY. Do ye mind the stupid man ! Sure, I 'm trying 



38 THE HEART OF A SHAMROCK 

to tell ye now, as I have for the last six months, that — 
/ love ye!— Now it's out and a bad job I have made of it. 
Bob. May ! Mine ! [He folds her in his arms.^ 

CURTAIN. 



ACT III. 

ONE HOUR LATER. 

[At rise: — A clock in another room chimes the hour 
of twelve. Father O'Neil in heretta and gown sUs before 
the fircy smoking.'] 

Father. What a night this has been. What a terri- 
ble night. Poor Laddie — poor boy. [He takes a hand- 
kerchief from his pocket and puts it to his eyes.] Poor 
May — poor Bob — poor me — poor all of us. [He puts 
the handkerchief hack and brings out the yellow novel.] 
'*Dare Devil Dick." [He tosses the book into the fire- 
place.] Sure, the thing would be tame readin' after 
what I've been through these past few hours. 

Joan [Enters D. I. F.]. Father O'Neil. 

Father. Is that ye, Joan? 

Joan. Yes, father. 

Father. What is it, child? You look ill. 

Joan [7s agitated and greatly alarmed]. Bob was 
over to our house. I heard of the fight to-night and 
I made him tell me about Laddie. 

Father. Well, and what of the Lad ? 

Joan. He is innocent. Oh, Laddie ! Father ! What 
have I done. [She drops on the settle and breaks out 
crying.] 



THE HEART OF A SHAMROCK 39 

Father. There, child, you must not take on like 
this. 

Joan. It's all my fault, all of it. I'm selfish, a 
selfish little beast, and heaven alone knows what else 
I'll be before this night's work is done. 

Father. Joan, if ye know anything that can help 
the boy, you must be calm and tell me. 

Joan. It's all my fault and I'm sorry. Oh, what 
wouldn't I give to undo it all. It's all my fault. 

Father. So you've said for the fifth time. Now 
tell me what is your fault and how it happens to be so. 

Joan. I know you will hate me when you hear it. 

Father. Hate ye? Sure that, child, is an impos- 
sible thing. 

Joan. Does Laddie hate me ? Tell me, did he say so ? 

Father. Joan, I assure ye that you are wasting 
time going on like this, if ye know ought that will help 
the lad. 

Joan. Promise me that you won't despise me if I 
tell you. 

Father. I promise, me child. 

Joan. I drove Laddie to join Crowley and his 
gang. 

Father. What ! 

Joan. I drove him to it. It's all my fault. I 
dared him, I made him do it. 

Father. Why? 

Joan. Because I love him. 

Father. Love him? Good heavens! Does he love 



Joan. Yes, Father. That is, he did, but he surely 
must hate me now. I don't see how he can help it. 



40 THE HEART OP A SHAMROCK ^ 

Father. He loves youf Oh, what a blind bat of 
a man I have been. 

Joan. Where is Laddie now? Send for him. I 
will tell all I know and they will believe me. I can 
save him. 

Father. I'm afraid, Joan, that it is too late. 

Joan. Too late? 

Father. He is on his way to Canada. 

Joan. Oh, what have I done. 

Father. I don't know, ye haven't told me yet. 

Joan. He made love to me here in this room to- 
night, and because I was selfish and vain, because I 
was cruel and knew he loved me — I laughed at him. 
I told him that he would have to have a fortune if he 
expected to win me. I told him that he wasn't a man 
in my eyes, and wouldn't be until he had done a man's 
work. 

Father. Yes. 

Joan. It was then he told me that he knew Crowley, 
and that if I wouldn't have him, he would join the 
gang. I think it was that. I only know that I laughed 
at him and dared him to do so. I told him to join 
Crowley and prove that he was a man. I was a selfish, 
romantic fool, and this is my punishment. 

Father [Shaking his head in a sad study~\. Joan, 
Joan. 

Joan. And now, you hate me. Oh, you must, you 
all must. 

Father. I'm only sorry for ye, Joan. From the 
bottom of me heart, it grieves me to see ye suffer. 

Joan. Is there no hope? 

Father. There is always hope, me girl. That is 
God's greatest gift to His children. 



THE HEART OF A SHAMROCK 41 

Joan [With bowed head]. Thank you, Father. 
Thank you. [Crosses left.] I'll go into the church 
and pray for Laddie. [Exit door left.] 

Father [Looking after her] . Poor child. — And May. 
How will I ever have the courage to tell her that Laddie 
loves Joan. Jimmie O'Neil, as ^ matchmaker you're a 
failure. 

Mrs. D. [Enters right. She is fully dressed, hut 
wears a nightcap]. Father O'Neil, I'll be wantin' to 
know if I am to get a night's shleep this night a-tall, 
a-tall. 

Father. Has something disturbed ye, Mrs. Donovan? 

Mrs. D. I don't mind tellin' ye, Father, that some- 
thin' has. I've heard nothin' but strange noises and 
voices goin' on continual since I laid me head on me 
piller over six hours ago. 

Father. A lot can happen in six hours. 

Mrs. D. The truth I'll give ye fer them words. 
What from the mumble and giTimble of noises I've 
heard this night, sez I to meself, sez I, it's a wake 
they're havin' and never a word have they told me 
about it. 

Adams [Enters D. I. F.]. Phew! This is sure cold 
weather. Good evenin', Father. Evenin', Mrs. Dono- 
van. 

Mrs. D. The top of that same to ye. Grizzly. 

Father. Do ye want to see me, Mr. Adams ? 

Adams. I did. One of them hold-up men that was 
in the fight to-night is. wounded pretty bad. I guess 
he's about fixin' to cash in his chips. He's been askin' 
for you. 

Father. Where is he? 

Adams. Over at Simpson's. 



42 THE HEART OF A SHAMROCK 

[Mrs. Donovan hmids Father his hat and coat,'] 

Father. I'll go to him at once. [Walks to door left.] 

Adams. Do you want me to wait for you? 

Father. I'd rather go alone, thanks. I'U go right 
out through the church. [Exit door left.] 

Adams. Fine man, Mrs. Donovan. 

Mrs. D. Mrs. Donovan? My, but ain't we polite. 

Adams [Putting his arm about her]. Delia, you're 
a wonderful woman. 

Mrs. D. I'm a poor lone widdie, that's what I am. 

Adams. You're as handsome as a picture and I'll 
kiss the book on that. 

Mrs. D. And ye 're the boy w4d the blarney and I'll 
kiss the book on that. 

Adams. Have you told Father O'Neil about our en- 
gagement yet? 

Mrs. D. Divil a word. That's fer ye to do. 

Adams. I would have done it long ago, but I'm 
afraid he'll throw me out of the door. 

Mrs. D. And ain't ye the poor delicate thing? [She 
goes out of his embrace and sits on the settle. He sits 
beside her and again puts his arm about her.] Have ye 
no other place fer yer arm? 

Adams. This is the most comfortable. 

Mrs. D. 'Tis meself that thinks ye 're well named 
Grizzlj^ Adams. Ye grow more like a bear every day. 

Adams. How's that? 

Mrs. D. Ye 're niver happy unless ye 're huggin'. 
[Adams laughs loudly and gives her a great hug.] Go 
along wid ye. Are ye tryin' to break in me ribs? 

Adams. You're a fine old gal. 

Mrs. D. Old, is it? Old? I'll have ye understand 
I'm not old. 



THE HEART OF A SHAMROCK 43 

Adams. Now we 've had a spat like a regular pair of 
lovers. [He wipes his mouth with the hack of his, 
sleeve.'] Now let's kiss and make up. 

Mrs. D. I'll do nothin' of the sort. 

Adams. You will or I'll steal it. 

Mrs. D. If ye try it, I'll scream like the divil. 

[Adams quickly takes her about the vjaist and gives 
her a sound kiss.] 

Adams. Sweet as honey, by thunder! Well, why 
didn't you scream? 

Mrs. D. How could I scream when ye took the breath 
out of me? 

May [Enters door right] . Did ye call, Mrs. Donovan ? 

Mrs. D. I did not, me darlint. Why ain't ye in bed? 
{To Adams, under her hreath.] Move over. [Adams 
jumps to the end of the settle.] 

May. I can't make up me mind to go to bed, somehow 
or other. 

Mrs. D. 'Tis many a day since this house has been 
up at this hour. [To Adams.] Do ye mind teUin' me 
what ye are doin' over here at this hour of the night 
fer, anyway? 

Adams [Surprised]. Well, as I came over to fetch 
Father O'Neil and it being a cold night, I thought you 
might make me a cup of tea. 

Mrs. D. Why didn't ye say that in the first place? 
Come along to the kitchen then. May, me darlint, your 
nice warm bed is the place fer ye. [Exit right.] 

Adams [Follows her to the door mid then turns to 
May]. May, can you keep a secret? 

MiVY. I don't know; I'm Irish, remember, and ye 
know our reputation in that direction. 



44 THE HEART OF A SHAMROCK 

Adams. I'll risk it. In a few weeks Mrs. Donovan 
will be Mrs. Grizzly Adams. Ain't that a bear of a 
name? [He chuckles at Ms own joke, crooks his elbo'm 
at May and exit right.'] 

Bob [Enters D. I. F.] . Hello, Honey. I thought yon 
went to bed an hour ago. 

May. It's no use, Bob, I can't sleep. 

Bob. You must get rest, child, or you'll be down on 
a sick bed. [May sighs and sits on the end of the settle, 
looking into the fire. Bob sits beside her.] Ain't you 
happy, girl? 

May. Happy, Bob, dear ? Sure, I never was happier 
in all me life. 

Bob. When will we go away? 

May. Whenever ye say. Bob. Your people are to be 
my people, ye know — your home, my home. 

Bob. I don't think it's half fair in me to drag you 
away from all these folks you love. 

May. But I love ye best of all and my place is by 
your side. Bob, it was selfish of me to ask ye to let 
Laddie go ; it 's made a big change in ye, boy, I can see 
that. 

Bob. Let's say no more about it. It was through 
that that I won you, and after all you are all that mat- 
ters in this world to me now. 

May. You're brave. Bob. You're good. And I love 
ye. [He takes her hand in his and kisses it.] 

Bob. I guess I'll take another look at the stock and 
then we'd better turn in. [He goes up to D. I. F.] 

May. Don't be long. 

Bob. I'll try not to. [Exit.] 

Father [Enters D. I. F., at the same time calling to 



THE HEART OF A SHAMROCK 45 

Bob]. Hurry back, Bob, I have news for ye. May, me 
child, I have news for ye. [Hangs up Jiis hat and coat.] 

May. Good or bad ? 

Father. Both. Oh, what a day this has been. Sure, 
Dare Devil Dick himself never saw the like the best 
days of his life. 

May. But the news? 

Father [Sitting beside her']. I'm coming to that. 
One of Crowley's men died to-night. He sent for me 
and I did all in me power to make his last few minutes 
here as peaceful as possible. I stayed with him and 
prayed until the end. Before he passed away he gave 
me this letter. [Takes a scrap of paper from his 
pocket.] 

May. What is it? 

Father. It is sort of a confession, to be read to all 
the world. 

May. What's it about? 

Father. In this he teUs that our Laddie never was 
a member of their gang, that he never was in one piece 
of crooked business and that he wasn't with them 
to-night. 

May [Overjoyed]. Father, can this be true? 

Father, It is, every word, and it's down here in 
black and white. Ye see the Lad intended to do a des- 
perate act of some kind, but the hand of heaven stopped 
him just in time. 

May. And Bob, Bob! Won't he be overjoyed? 

Father. Now should anyone cast a reflection upon 
our Laddie, this letter will set them right. As for the 
Lad himself, I make no doubt he has learned his lesson. 

May. How did the man come to make the confession ? 



46 THE HEART OP A SHAMROCK 

Father. That 's the strangest part of it. Joan Corfi- 
gan got him to do it. 

May. Joan ? 

Father. Somehow or other she heard about Laddie 
and when she heard this man was dying, she went to him 
and had him tell the truth on paper. 

May. What a wonderful girl she is. 

Father. Yes. And now for the sad news. 

May. Never mind that. We must find Laddie first. 

Father. One thing at a time. I'll have to get this 
bad news out of me system before I do another thing. 

May. Is it so terribly bad? 

Father. It is. May, me dear, try to be brave. 

May. Oh, what is it? 

Father. Laddie don't love ye. He loves Joan Corri- 
gan. There, it's out. 

May. Sure, and is that all? 

Father. Is that all! 

May. That's no news. I knew that months ago. 

Father [Coming to his feet]. What! 

May. I'll tell ye some real news, if ye want to hear 
it. I love Bob and Bob loves me. 

Father. The saints look down upon us. 

May. And here's some more. Mrs. Donovan and 
Grizzly Adams are engaged to be married. 

Father. Upon me soul, I'm getting dizzy. 

May. And here's some more. 

Father. No more; I can't stand it, and besides I 
have business in the church. [Exit left.] 

Laddie [Enters D. I. F.]. May. [He stands in the 
doorway with bowed head.] 

May [Delighted] . Laddie ! Ye have come back ? 



THE HEART OF A SHAMROCK 47 

Laddie. Yes. To ask you to forgive me, to ask Bob 
to forgive me, to ask forgiveness of you all. 

May. Oh, I'm so glad. 

Laddie. I just couldn't go away like that when I 
realized what Bob was giving up to let me go. 

May. Laddie, boy, ye never did a nobler thing in all 
your life, than this. 

Laddie. Way out there under the winter stars I 
fought it out all alone, and when I thought of Him who 
prayed all alone in the Garden of Gethsemane, I knew 
that God was on my side and if I had done wrong my 
place was back here where I could make atonement. So 
I came back. 

May [Holds out her hand, which he takes]. Now 
you're our old Laddie. 

Laddie. Not the old Laddie, but a better one, I hope. 
May, I have lived ten years in the past few hours. Do 
you forgive me. May ? 

May. With all my heart. 

Laddie. Some day perhaps you will understand why 
I— 

May. Hush, me Lad. I understand a great deal more 
than ye think. 

Laddie [Kisses her hand]. You're too good to me, 
May. I don't deserve it. 

Father [Enters left. He holds out both his hands to 
Laddie] . Laddie. 

Laddie. Jim — Father — Brother. [He goes into his 
broth^er's arms.] 

Father. I knew you'd come back, me Lad. I felt it 
in me heart. 

Laddie. I've come back to face it all out like a man. 
If I have done wrong I am ready to suffer; I just 



48 THE HEART OF A SHAMROCK 

couldn't go away and let it all fall on the shoulders of 
those who loved me best. 

Father. Spoken like a true O'Neil. 

Laddie. Now tell my brother Bob that I am ready to 
go with him. 

Father. Sure, there is no need of that now. 

Laddie. No need of it? Why? 

Father. You'll find your answer in the church. 

Laddie. But I — 

Father [Pushing Laddie before him through door 
left, Laddie remonstrating all the whilel. In the church, 
I said. You'll find the answer to all your questions in 
the third pew from the altar on the St. Joseph side. 
Get along. [They exit.'] 

May [Getting into her hat and coat]. I can't wait, 
I must tell Bob the good news. [Exit D. I. F.] 

Mrs. D. [Enters right, followed by Adams]. Good 
night to ye, Grizzly, and plisent dreams. [She opens 
D. I. F. so that he might pass out. Father enters door 
left.-] 

Adams. Good night, Delia, me sugar plum. [He 
takes her in his arms and kisses her.] 

Father [Aside] . This is no place for a priest. [Exit 
left.] 

Mrs. D. Good night, me sweet love. [Adams exit 
D. I. F. Mrs. D. closes the door after him and exit 
right, singing softly to herself.] 

May [Enters D. I. F., followed by Bob]. I tell ye it's 
the truth, every word of it. 

Bob. Then I'll go to him at once. 

May. You'd better wait. He's in the church with 
Father O'Neil this minute. 

Bob. May, this seems too good to be true. 



THE HEART OF A SHAMROCK 49 

May. I feel so happy over it meself , I could kiss you 
half to death. 

Bob. Well, I'm not stopping you. 

May [Looks ah out~\. It's a poor Irishman that won't 
take a chance. [She throws her arms about Bob's neck 
and kisses him. He holds her in his arms. Father 
enters left.'] 

Father [Aside]. I wonder if an epidemic of hug- 
ging has broken out in the town? [Exit left.] 

May. Father 'Neil will be wanting to use this room, 
so come out in the kitchen and I'll tell ye all about it. 
[She takes his hand and leads him.] Make no noise 
BOW. [They tip-toe off right.] 

Father [Enters left]. Now the two in the church 
have caught the habit. [Sits on the settle.] Phew! 
I'm all in, as they say back East. [A clock chimes one 
stroke.] One o'clock. Jimmie O'Neil, this fast life will 
be the death of ye. [He stretches himself out on the 
settle, closes his eyes and is off to sleep in an instant.] 

Gad [Enters right. She is still fidly dressed and 
wears the quilt about her shoulders]. I'd like to know 
what's goin' on down here, I — [She sees Father is 
asleep. She crosses to him and makes sure. She takes 
the quilt from her shoidders, covers him with it and 
tip-toes off right.] 

SLOW CURTAIN. 



Tompkin's Hired Man t & Acb 

By EFFIE W. MERRIMAN PRICE, 25 CENTS 

This is a strong play. No finer character than Dixey, the hired 
man, has ever been created in American dramatic literature. He 
compels alternate laughter and tears, and possesses such quaint 
ways and so much of the milk of human kindness, as to make him 
a favorite with all audiences. The other male characters make 
good contrasts: Tompkins, the prosperous, straightforward farmer; 
Jerry, the country bumpkin, and Remington, the manly youns 
American. Mrs. Tompkins is a strong old woman part; Julia, the 
spoiled daughter; Louise, the leading juvenile, and Ruth, the romp- 
ing soubrette, are all worthy of the best talent. This is a fine play 
of American life; the scene of the three acts being laid in the 
kitchen of Tompkin's farm house. The settings are quite elaborate, 
but easy to manage, as there is no change of scene. We stronglj»; 
recommend "Tompkin's Hired Man" as a sure success. 

CHARACTERS 
Asa Tompkins — ^A prosperous farmer who cannot tolerate deceit. 
Dixey — The hired man, and oae ^of nature's noblemen. 
John Remington — ^A manly young man in love with Louise. 
Jerry — A half -grown, awkward country lad. 
Mrs. Tompkins — ^A woman with a secret that embitters her. 
Julia — ^A spoiled child, the only daughter bom to Mr. and Mrs, 

Tompkins. 
Louise — The daughter whom Mr. Tompkins believes to be his own. 
Ruth — Mr. Tompkin's niece, and a great romp. 
Plays about two hours. 
SYNOPSIS 

Act 1. Sewing carpet rags. "John and I are engaged." •'"Well, 
you can disengage yourself, for you'll never be married." "Mrs. 
Clark, she's took worse." Who makes the cake? Julia declines to 
sew carpet rags. "It would ruin my hands for the piano or my 
painting." Dixey to the rescue. "You take the rags a minute, 
child, and I'll just give that fire a boost." Dixey's story. "It 
breaks his heart, but he gives her away, an' he promises never teh 
let her know as how he's her father." Enter Jerry. "Howdy." 
John gets a situation in the city. Farewell. "It's a dandy scheme, 
all the same. We'll have our party in spite of Aunt Sarah." "Oh, 
I'm so happy." The quartette. Curtain. 

Act 2. Chopping mince meat. The letter,, Louise faints. "Ho-wr 
dare you read a paper that does not concern you?" "You have 
robbed me of my father's love." The mother's story. Dinner. "I 
swan, I guess I set this table v/ith a pitchfork." "Now, Lambkin, 
tell Dixey all 'bout it, can't yer?" "It looks zif they'd got teh be a 
change here purty darned quick, an' zif I'm the feller 'lected teh 
bring it 'bout." "None o' my bizness, I know, but — I am her 
father!" "It's love the leetle one wants, net money." "If I'd been. 
a man, 'I'd never given my leetle gal away." "I'm dead sot on them 
two prop'sitions." Curtain. 

Act 3. Dixey builds the fire. "Things hain't so dangerous when 
everj'^bodys' got his stummick full," The telegram. "It means that 
Louise is my promised wife." "By what right do you insinuate that 
there ha.s been treachery under this roof?" "A miserable, dirty, 
little waif, picked up on the streets, and palmed off upon my father 
as his child?" "Oh, my wife, your attitude tells a story that breaks 
my heart." "Yeh druve her to do what she did, an' yeh haint got 
no right teh blame her now." "Friend Tompkins, a fehird man has 
taken our leetie gal an' we've both got teh lam teh git along without 
her. We kin all be happy in spite o' them two sentimental kidiB.'* 
Curtain. Address Orders to 

THE DRAMATIC PUBLISHING COMPANY 

CHICAGO. ILLINOIS 



Won Back 

A Play in Four Acts 

By 

CLIFTON W. TAYLBUR 

Price, 25 cents 

Six male, four female characters. A play written in the same 
Vein as "Held by the Enemy," "Shenandoah," "Across the Poto- 
mac," and other great New York successes. Mr. Tayleur has writ- 
ten manj' successful plays, but this striking picture of the stirring 
times of the Great Rebellion surpasses them all. Costumes, civil 
and military of the period. Scenes, two interiors, and one land- 
scape with Confederate camp, easily managed. Time of playing, 
two hours and thirty minutes, 

SYNOPSIS OF EVENTS 
ACT I— Drawing-room, Arlington, Wasliington— 1860 

"Whom first we love, you know, we seldom wed; 
Time rules us all: and life indeed is not 
The thing we planned it out, ere hope was dead. 
And then, we women cannot choose our lot." 
In fetters — The rivals — North and South — The coy widow — A 
noted duelist — An old affection — The dismissal — The rivals meet—* 
"You shall answer for this" — Farewell. 

ACT II— Same Scene— J 860 

**Who mJght have been — Ah. what, I dare not think' 
We are all changed. God judges for the best. 
God help us do our duty, and not shrink. 
And trust in Heaven humbly for the rest." 
Broken ties — A Vassar girl's idea of matrimony — A T\^ashington 
savfie — Schooling a lover — Affairs of honor — The Northern Vr^^ 
eate. — The missing challenge — Betrothed. 

ACT III — Drawing-room in New York Hotel— J 86 J 

"With bayonets slanted in the glittering light 
With solemn roll of drums. 
With starlit banners rustling wings of night. 
The knightly concourse comes." 
To arms! To arms! — Stand by the flag — A woman's duty — A 
skirmish in the parlor — On to Richmond — Reunited — The passing 
regiment. 

ACT IV— Confederate Camp at Winchester 1864 

"No more shall the war cry sever, or the winding river be red; 
They banish our anger forever, when they laurel the graves of our 
dead." 
A cowards' armor — A hand to hand struggle — Hugh captured — 
Sentenced to be shot — A ministeriaig angel — Harold King's re- 
venge — The attack on the camp — Dea;th of King — After the battle- 
Won, back. 

Address Orders to 
THE DRAMATIC PUBLISHING COMPANY 

CHIGACa ILLINOIS 



Santiago 

OR 

For the Red, White and Blue 
A "Waf Drama in Fout Acts 

By JOHN A. FRASER 
Price, 25 cents 

CHARACTERS 

Capt. Oscar Hutton, U. S, A. In love with Cora. .Leading Juvenile 

Lieut. Fisk, U. S. A. In love with his duty Juvenile bit 

Milton Merry, U. S. N. In love with Bess Light Comedy 

Lieut. Cristobal, S. A. In love with soldiering Straight 

Dr. Harrison, Red Cross H. S. In love with surgery 

Straight old man 

Elmer Walton, banker. In love with Spanish bonds 

Character old man 

Phillip Basset, his stepson. In love with Ysobel Juvenile 

Fernando Diaz, Walton's cashier, afterwards S. A. In love with 

Cora Heavy 

Beverly Brown, Walton's butler, afterwards Red Cross H. S. In 

love with chickens Negro Comedy 

Cornelius Dwyer, Walton's coachman, afterwards U. S. A. In 

love with "Naygurs" Irish Comedy 

Antonio Carlos, a Cuban planter. In love with Spain 

Character old man 

Cora Basset, Walton's stepdaughter. In love with Oscar. .Juvenile 

Bess Walton, Walton's daughter. In love with Milton Ingenue 

Ysobel Carlos, Antonio's daughter. In love with Phillip. .. .Juvenile 
American Soldiers, American Sailors, Spanish Soldiers, Guerillas. 
Actual time of playing, two hours. 

SYNOPSIS 

ACT I. The ball at Walton's, Washington. D, C. Handsome In- 
terior. 

ACl' II. The Red Cross Hospital. First day's battle of Santiago. 
Exterior. 

ACT III. Scene 1. — Interior Guerilla headquarters in the Sierra 
Cobra, near Santiago. Scene 2. — Exterior. The underbrush of Si- 
erra Cobra. Scene 3. — Fight in the mountain pass, second day's 
battle of Santiago. Exterior. 

ACT IV. Hotel Tacon, Santiago, on the night of the surrender. 
Interior. 

NOTE. — Walton, Dr. Harrison and Carlos may double easily, and 
the piece played with nine males, three females. 

The best Cuban war play ever written. Easy to produce, but 
very effective. Thrilling situations, fine comedy, intense climaxes. 
Comic Irishman and Negro. Three magnificent female parts. Pic- 
turesque Spanish villain and heroic juvenile lead. No special scen- 
ery is required, as every regular theatre, in its ordinary equip- 
ment, has every set called for. Adapted to both professional ana 
amateur companies. 

Address Orders to 

THE DRAMATIC PUBLISHING COMPANY 

CHICAGO. ILLINOIS 



Joe Ruggles 

OR 



THE GIRL MINER 

A G>medy Drama in Four Acts 

By FRANK J. DEAN 

Price, 25 cents 

Nine male, three female characters. A vigorous, stirring play, 
depicting peculiar types of life in a large city and in the mining 
districts of the West. The parts of Joe Ruggles, the miner, Han? 
Von Bush (Dutch dialect), and Richard Hamilton, the scheming 
villain, all afford opportunity for clever work; while the part of 
Madge (soubrette), who afterwards assumes the character of Mark 
J.ynch, is an excellent one for a bright young actress. 

Scenery— City street, showing R. R. Station; rocky pass, with 
Bet cabins; a wood scene, and two plain interiors. Costumes of the 
day. Time of playing, two and a half hours. 

SYNOPSIS OF EVENTS 

ACT I-Enlrance to Railroad Station 

Looking for a victim — Joe Ruggles — "Them galoots is worse than 
grizzlies" — "Morning papers" — Madge and Bess plying their trades— 
"Can't you sing Joe a song?" — Hamilton and his pal confer — Tom 
Howarth gains inportant information — "Don't you dare to la>' 
hands on us!" — Hamilton tries to maintain his authority — "Whoi 
Old Joe!" 

ACT II — Doomalay's Hotel, Dafc-devil*i Gulch, California 

The landlord secures a guest — Hans disappointed — "Dot is a mis- 
dake" — A ghost story — The "Kid and his sister" — "Did I hurt your 
highness?" — Hans and Doomsday have another talk — Kate Laurel 
meets the young miner — "Yah, dot vas vot J t'inks" — Madge's dis- 
guise penetrated — She recognizes an old enemy — "Now, George 
Smith, take your choice" — Joe Ruggles as a tramp — "Ef yer think 
yer can pick on me because I'm han'some ye'll find me ter hum" — 
Hamilton appears — "Those two j'oungsters are mine" — The tramp 
takes a hand. 

ACT m — Wood Scene 

A lively ghost — ^Hamilton and Smith plan more villainy — Old Joe 
thinks of turning Detective — Kate Laurel again — "There is a secret 
connected with my life" — Kate's confession — "What do you mean, 
sir?" — Tom Howarth once more — "Vos you looking for a hotel?"— 
.Planning an abduction — Old Joe as an Irishman — "Phat does yez 
•want wid me?" — Undertakes to be a detective — Takes a hand in 
the abduction — "Do it at your peril." 

ACT IV 

Hans hears, and tells, the latest news — "I nefer pelieved dot 
spook peesness" — Kate Laurel astonished — Hamilton attempts 
flight — "De poys haf got Mr. Hamilton, und day vill gif him a 
necktie barty" — Arrest of Smith — "Get out mit my vay, I vas de 
United States Mail" — Tom meets his old friend under new circum- 
stances — "Do you want me, Tom?" — Old Joe gives consent — A 
fcappy ending. 

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THE DRAMATIC PUBLISHING COMPAIW 

CHICAGO. ILLINOIS 



The Outcast's Daughter ^ F^ncts 

By MARION EDDY PRICE, 25 CENTS 

Ten male, five female and one child characters. Plays two and 
one-half hours. Modern costumes. Three interior, one exterior 
scenes, all easily arranged where there is any scenery at hand. No 
stronger melodrama has been given the play-loving public. Full of 
the strongest appealing heart interest, intense, pathetic, real life, 
where joy and laughter are mingled with pathos and suffering, but 
all ending happily. A melodrama without a villain or the use of 
firearms. Amateurs may play it successfully, it plays itself, and 
it is adapted to strong repertoire companies. 

CAST OF CHAkACTERS 

Carl Faber An ex-convict 

Howard Ross A manufacturer 

Dennis Hogan Servant to Ro( s 

Abel Gardener to Ros^ 

Judge Havens Of the police court 

Recorder Of the police court 

Lettner Clerk of police court 

Second Court Clerk Clerk of police court 

Two policemen 

Little Hugo Agatha's child 

Agatha Steme Ross' bookkeeper 

Ida Rheinhold A retired singer 

Mrs. Wilmuth A washerwoman. 

Xatie Factory girl 

Frances Factory girl 

SYNOPSIS OF SCENES 

Act 1. Ross* private office. "What has given me the honor of 
this visit?" "I will never sing again. My life has been a sad 
failure." "Good God! My mother!" "I have done wrong, I confess, 
but when a mother asks, a child must forgive. Oh, Mr. Ross, help 
me." "You, my rich and famous mother, to you I was nothing, 
and you — vou are nothing — nothing to me." "Agatha! Agatha! 
My child! My child!" 

Act 2. Agatha's attic. "My poor father. So young and strong. 
How I could have loved him." "Yes, Katie is right, I have nothing 
but bread for my sweet child." "Madam, I vould lie if I say she 
vas anything but a lady." "On the other side, towards the garden, 
there are a few rooms I have never used. If you will take 
them " "You do not look like a man who could commit mur- 
der. How was it?" "I was a weak man and many misfortunes 
made me desperate." "My picture! I must be mad." "You are 
good, child, but you shall not call me father." "Father! Father!" 

Act 3. Ross' Garden. "He is so good to me, but I cannot forget 
my poor unhappy father." "The picture was taken when I was 
young. He shall have it." "Stay here and be my wife." "That 
suspicious old man is in the garden." "For her I sacrificed every- 
thing." "Do you want to go to prison again?" "My father needs 
me to defend and comfort him." 

Act 4. A Police Court. "Do not ask me, your honor — I am an 
ex-conviot." "Your silence will not help you." "It vas dark und 
Mrs. Steme vas that scared she vas faint." "I hope, sor, yer honor 
believes in a future life, sor." "He wished to see his child; I am 
his child." "Grandfather, we love you." "I am his wife. Do not 
condemn him." _ 

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THE DRAMATIC PUBLISHING COMPANV 
CHIGAlGaiUaiQIS 



Hageman^s Make-Up Book 

By MAURICE HAGEMAN 

Price, 25 cents 

1'ne importance of an effective make-up is becoming more appar- 
ent to the professional actor every year, but hitherto there has been 
no book on the subject describing the modern methods and at tne 
same time covering all branches of the art. This want has now 
been filled. Mr. Hageman has had an experience of twenty years 
as actor and stage-manager, and his well-known literary ability has 
enabled him to put the knowledge so gained into shape to be of 
use to others. The book is an encyclopedia of the art of making up. 
Every branch of the subject is exhaustively treated, and few ques- 
tions can be asked by professional or amateur that cannot be an- 
swered by this admirable hand-book. It is not only the best make- 
up book ever published, but it is not likely to be superseded by 
#«iy other. It is absolutely indispensable to every ambitious actor. 

CONTENTS 

Chapter I. General Remarks. 

Chapter II. Grease-Paints, their origin, components and use. 

Chapter III. The iVIake-up Box. Grease-Paints, Mirrors, Face 
Powder and Puff, Exora Cream, Rouge, Liquid Color, Grenadine, 
Blue for the Eyelids, Brilliantine for the Hair, Nose Putty, Wig 
Paste, Mascaro, Crape Hair, Spirit Gum, Scissors, Artists' Stomps, 
Cold Cream, Cocoa Butter, Recipes for Cold Cream. 

Chapter IV. Preliminaries before IViakIng up; the Straight iVlake- 
up and how to remove it. 

Chapter V. Remarks to Ladies. Liquid Creams, Rouge, Lips, 
Eyebrows, Eyelashes, Character Roles, Jewelry, Removing Make-up. 

Chapter VI. Juveniles. Sti^aight Juvenile Make-up, Society 
Men, Young Men in 111 Health, with Red Wigs, Rococo Make-up, 
Hands, Wrists, Cheeks, etc. 

Chapter VII. Adults, IVliddle Aged and Oid Men. Ordinary Type 
of Manhood, Lining Colors, Wrinkles, Rouge, Sickly and Healthy 
Old Age, Ruddy Complexions. 

Chapter VIII. Comedy and Character IVIake-ups. Comedy Ef- 
fects, Wigs, Beards, Eyebrows, Noses, Lips, Pallor of Death. 

Chapter IX. The Human Features. The Mouth and Lips, the 
Eyes and Eyelids, the Nose, the Chin, the Ear, the Teeth. 

Chapter X. Other Exposed Parts of the Human Anatomy. 

Chapter XL Wigs, Bearers, Moustaches, and Eyebrov^s. Choosing 
a Wig, Powdering the Hair, Dimensions for Wigs, Wig Bands, Bald 
Wigs, Ladies' Wigs, Beards on Wire, on Gauze, Crape Hair, Wool, 
Beards for Tramps, Moustaches, Eyebrows. 

Chapter XII. Distinctive and Traditional Characteristics. North 
American Indians, New England Farmers, Hoosiers, Southerners, 
Politicians, Cowboys, Minors, Quakers, Tramps, Creoles, Mulattoes, 
Quadroons, Octoroons, Negroes. Soldiers during War, Soldiers dur- 
ing Peace, Scouts, Pathfinders, Puritans, Early Dutch Settlers, 
Elnglishmen, Scotchmen, Irishmen, Frenchmen, Italians, Spaniards, 
Portuguese, South Americans, Scandinavians, Germans, Hollanders. 
Hungarians, Gipsies, Russians, Turks, Arabs, Moors, Caffirs, Abys- 
ftinians, Hindoos, Malays, Chinese, Japanese, Clowns and Statuary. 
Bebrews, Drunkards, Lunatics, Idiots, Misers, Rogues. 

Address Orders to 
THE DRAMATIC PUBLISHING COMPANY 

CHICAGO, ILLINOIS 



Diamonds and Hearts 

A Comedy Drama in Three Acts 

By EFFIE W. MERRIMAN 

Ptice, 25 cents 

This play has become one of the most popular in America. The 
good plot, the strong "heart" interest, and the abundant comedy 
all combine to make a most excellent drama. "Bub" Barnes is a 
fine character of the Josh Whitcomb type, and his sister is a worthy^ 
companion "bit." Sammy is an excruciatingly funny little darkey. 
The other characters are good. Fine opportunity for introducing 
specialties. The play has so many good points that it never fails 
to be a success. 

CAST OF CHARACTERS 

BERNICE HALSTEAD, a young lady of eighteen, with an affec- 
tion of the heart, a love for fun and hatred of arithmetic ; 

AMY HALSTEAD, her sister, two years younger, fond of frolic.^ 
INEZ GRAY, a young lady visitor, willing to share in the fun.,., 
MRS. HALSTEAD, a widow, and stepmother of the Halstead girls 
HANNiUI MARY BARNES, or "Sis," a maiden lady who keeps 

house for her brother 

DWIGHT BRADLEY, a fortune hunter and Mrs. Halstead's soa 

hy a former marriage „ 

DR. BURTON, a young physician » 

SAMMY, the darkey bell-boy in the Halstead house.. 

ABRAHAM BARNES, or "Bub," a yankee farmer, still unmar- 
ried at forty— a diamond in the rough , . , 

ATTORNEY; SHERIFF 

Time of playing, two hours. 
Two interior scenes. Modern costumes. 

SYNOPSIS OF INCIDENTS 

Act. 1. Parlor of the Halstead home. The young doctor. Th© 
three girls plot to make his acquaintance. An affection of the heart 
"Easy to fool a young doctor," but not so easy after all. The step^ 
mother and her son. The stolen diamonds. The missing will. 
Plot to win Bernice. "I would not marry Dwight Bradley for aU 
the wealth the world contains." Driven from home. 

Act 2. Kitchen of the Barnes* farm house. Bub takes off his 
boots. The new school ma'am. "Supper's ready." "This is our 
'nephew and he's a doctor." Recognition. A dilHcult problem in. 
arithmetic. The doctor to the rescue. "I'm just the happiest girl 
In the world." "I've come to pop the question, an' why don't I 
do it?'* Brother and sister. "If it's a heifer, it's teh be mine.** 
The sheriff. Arrested for stealing the diamonds. "Let me knock 
yer durned head off." The jewels found in Bernice's trunk. 

Act 3. Parlor of the Halstead home. "That was a lucky strok© 
— hiding those diamonds in her trunk." The schemer's plot miscar- 
ries. Abe and Sammy join hands. The lawyer. "Bully for her." 
Bradley tries to escape. "No, ye don't!" Arrested. "It means, 
dear, that you are to be persecuted no more." Wedding presents* 
and a war dance around them. "It is no trick at all to fool a 
young doctor." 

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THE DRAMATIC PUBLISHING COMPANY 

CHICAGO. ILLINOIS 



Capt* Racket 

A Comedy in Three Acts 

Br CHARLES TOWNSEND 



Ftke, 25 cents 



This play by Mr. Townsend is probably one of his most popular 
prod actions; it certainly is one of his best. It is full of action from 
rtart to finish. Comic situations rapidly follow one after another, 
and the act endings are especially strong and lively. Every char- 
acter is good and affords abundant opportunity for effective work. 
Can be played by five men and three women, if desired. The 
same scene is used for all the acts, and it is an easy interior. A 
most excellent play for repertoire companies. No seeker for a 
good play can afford to ignore it. 

CHARACTERS 

CAPT. ROBERT RACKET, one of the National Guard. A lawyer 

when he has nothing else to do, and a liar all the time 

.•••« Comedy lead 

OBADIAH DAWSON, his uncle, from Japan, "where they make 
tea" Comedy old man 

TIMOTHY TOLMAN, his friend, who married for money, and is 
sorry for it Juvenile man 

MR. DALROY, his father-in-law, jolly old cove Eccentric 

HOBSON, waiter from the "Cafe Gloriana," who adds to the 
confusion Utility 

CLARICE, the Captain's pretty wife, out for a lark, and up to 
•'anything awful" Comedy lead 

MRS. TOLMAN, a lady with a temper, who finds her Timothy a 
vexation of spirit Old woman 

KATY, a mischievous maid Soubretto 

TOOTSY, the ••Kid," Tim's olive branch Props. 

SYNOPSIS 

Act I. Place: Tim's country home on the Hudson near New 
York. Time: A breezy morning in September. The Captain's 
fancy takes a flight and trouble begins. 

Act II. Place: the same. Time: the next morning. How ono 
yarn requires another. "The greatest liar unhung." Now the 
trouble increases and the Captain prepares for war. 

Act III. Place: the same. Time: Evening of the same day. 
More misery. A general muddle. "Dance or you'll die." Cornered 
at last. The Captain owns uo. All serene. 

l^ime of playing: Two hours. 

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THE DRA3VIATIC PUBLISHING COMPANY 

CHICAGO. ILLINOIS 



Practical Instructions tor 
Private Theatricals 

By W. D, EMERSON 
Author of **A Country Eomance/* ''The Unknown Rival,'* 

*' Humble Pie/' etc. 



Price» 25 cents 



Here is a practical hand-book, describing in detail all the 
accessories, properties, scenes and apparatus necessary for aa 
amateur production. In addition to the descriptions in words, 
everything is clearly shown in the numerous pictures, more 
than one hundred being inserted in the book. No such useful 
book has ever been offered to the amateur players of any 
country. 

CONTENTS 

Chapter L Introductory Remarks. 

Chapter II. Stage, How to Make, etc. In drawing-rooms 
or parlors, with sliding or hinged doors. In a single large 
room. The Curtain; bow to attach it, and raise it, etc. 

Chapter III. Arrangement of Scenery. How to hang it. 
Drapery, tormentors, wings, borders, drops. 

Chapter IV. Box Scenes. Center door pieces, plain wings, 
door wings, return pieces, etc. 

Chapter V. How to Light the Stage. Oil, gas and electric 
light. Footlights, Sidelights, Reflectors. How to darken the 
stage, etc. 

Chapter VI. Stag^ Effects. Wind, Eain, Thunder, Break- 
ing Glass, Falling Buildings, Snow, Water, Waves, Cascades, 
Passing Trains, Lightning, Chimes, Sound of Horses' Hoofia^ 
Shots. 

Chapter VII. Scene Painting. 

Chapter VIII. A Word to the Property Ma». 

Chapter IX. To the Stage Manager. 

Chapter X. The Business Manager. 

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THE DRAMATIC PUBLISHING COMPANY 

CHICAGO, ILLINOIS 



Because I Love You 

Dtama in Four Acts 

By JOHN A. FRASER 

AJUiOOt Ci **A Woman's Honor," "A Noble Outcast,** **A Modem 

Ananias," "Santiago," etc. 

Price, 25 cents 

Eight male, four female characters. Plays two hours. Modem 
costumes. This is probably the strongest drama written of the 
modern romantic style. It is a pure love story and its sentiment 
and pathos are of the sterling, honest kind which appeals to every 
man and woman with a human heart. The stage business will be 
found extremely novel, but easily accomplished. The climaxes are 
all new and tremendously effective. One climax especially has 
never been surpassed. 

CAST OF CHARACTERS 
Imogene Courtleigh. Wilful, wayward and wealthy. ...Juvenile lead 

Ginger. A Gypsy waif Soubretter 

Nance Tyson. Her supposed mother Character 

Prudence FreehearL A poor relation Old maid comedy 

Horace Verner. An artist and accidentally a married man 

, Juvenile lead 

Dick Potts. His chum and incidentally in love with Ginger 

, Eccentric comedy 

Ira Courtleigh. Imogene's guardian Heavy 

Buck Tyson. A Gypsy tinker Character comedy 

Elmer Van Sittert. Anglomaniac, New Yorker Dude comedy 

Major Duffy. County Clerk and Confederate veteran 

Irish comedy 

Squire Ripley. A Virginia landlord Character old man 

Lige. A gentleman of color Negro character 

Note; Squire Ripley and Van Sittert may double. 

SYNOPSIS OF SCENES 

Act 1. "The George Washington," a country tavern in old Vir« 
ginia. An impromptu wedding. "When I was on the boards at 
old Pott's theayter." "Horace has fallen in love and has don© 
nothing but rave about her ever since." "The marriage ceremony 
performed, I depart, and you will make no attempt ever to see m© 
again." "Except at your own request, never!" 

Act 2. Lovers' Leap, a Blue Mountain precipice. A daring res- 
cue. "Gold does not always purchase happiness, lady." "Do you 
ever feel the need of a faithful friend?" "I do, I do, I'm thinking of 
buying a bulldog." "Look at the stride of him, and Imogen© 
sitting him as if he were a part of herself." Within twenty feet 
of certain death. "Gone? Without even my thanks for such a 
deed of desperate heroism?" 

Act. 3. The Courtleigh Place. A woman's folly. **And you say 

Sis father was a gentleman?" "1 have already refused to sign the 
ocument." "Stand back, she is my wife." 

Act. 4. The "Mountain Studio." "You're too good to let that 
French girl get you." "I struck him full in the face and the chal- 
lenge followed." "You will not meet this man, dear love?" "It 
shall, at least, be blow for blow." "I'll release you from your 
promise. Fight that man." "I'm the happiest man In old Vir» 
S^nia, because you love me." 

Address Orders to 
THE DRAMATIC PUBLISHING COMPANY 

CHICAGO. ELUNOIS 



Dumont^s 
Minstrel Joke Book 



Price, 25 cents 



A Collection of jokes arranged for End-Men, both professional and 
amateur. Never before collected and published in a clear manner 
and with bright dialogue for End-Men and Interlocutor. They 
form a book of the newest, most humorous and quaintest m^atter 
ever arranged. Any reader may, with assured success, deliver them 
to any assemblages before whom he may appear. 

Mr. Dumont himself says: "This collection of jokes and dia- 
logues is the careful gathering of years — and only the best and 
'sure laugh' producers are incorporated in this book." 



PARTIAL CONTENTS 

Arithmetic of Love, "Ask a Policeman," All about Novels, At Nia- 
gara Falls, "A. P. A." and Bricks, Advantages of Education, All 
Sorts, Army and its Soldiers, Bad Case of Lying, Base Ball, Breach 
of Promise, Burglars, Boston's Correct Language, Bravery in Battle, 
Fishing, Funny Signs and Borrowed Pants, Fish makes Brains, 
Firing ofC the Cannon, Climatic Changes, Clancy as a Diver. 
"Couldn't find a Policeman." Colonel Pepper, "Curiosities for Mu- 
seums," Conundrums, Cruelty to Animals, Country and Don't Drink, 
Couldn't take the Job, Comic Recitations, Cork Leg, "Casablanca," 
"Dreams," Ducks and Indians, Dutchman's Bet, "Daniel," Eating 
Dumplings, Epitaphs. Editing a Newspaper, Eating by Weight, Ed- 
ucated Horse, The Mule Battery, "Making Both Ends Meet," The 
Mind Reader, Missed the Hearse, Mixed Breed of Chickens, Married 
into a mean Family, Makinga Pair of Shoes, Man's Ribs and Angel 
Cake, The New Poet, Never ilappened, On the Battlefield, Off to the 
Seat of War, Our Brothers, Old Cider Barrel, Origin of Songs, 
Opinion on Man and Woman, Gratitude, Hotel Regulations, Hold 
your Head Up, How is Business, How Different Girls Kiss, Hash 
for the Navy, "Has not Caught Me Yet," Irish Monologue, It Runs 
in the Family, "If a River were between all Men and Women," 
Jumping Frog, Kissing, Kiss Sociable, Keep off the Grass, Kissing 
in the Tunnel, Lawyer and Doctor, Lost Umbrella, Liquor Assists 
Nature, Learning the Bike, Love and Matrimony, Law in Alaska, 
Shoemaker's Daughter, Singing at the Party, Storm at Sea, Spot- 
ted Dog, Swallowed an Egg, Second Time on Earth, Signs, Sorry 
he didn't Take it Cold, Progress, Parson's Sermon on Crap Shoot- 
ing, Poultry and Fruit, Power of Language, Perhaps I Will and 
Perhaps I Won't, Peculiarities of Speech, Pumpkin Pie, Patriotic 
Alphabet, Queer Advertisements, Ragged Jacket, Raising Grass- 
hoppers, Taught His Wife a Lesson, Thought it was a Boat-race, 
The Telephone, Thief with a Roman Nose, Taxes on Luxuries, 
Transfusion of Blood, Took the Dead Mans' Dollar, Two Good Liars, 
Three Realistic Dreams, Takes It just the same, "Twinkle, Twinkle 
Little Star," Very Good Tip. Very Large Punch Bowl, Very Mean 
Father, "We are Letters," "Went Home for his Pipe," "Why is a 
Ship called "She?" "What is Love?" "We are all Bottles," "Wish 
the Gun had gone off," Writing a Novel. 

Address Orders to 

THE DRAMATIC PUBLISHING COMPANY 

CHICAGO, ILLINOIS 



Hageman^s Make-Up Book 

By MAURICE HAGEMAN 

Price, 25 cents 

l^ne importance of an effective make-up is becoming more appar- 
ent to the professional actor every year, but hitherto there has been 
no book on the subject describing the modern methods and at tne 
same time covering all branches of the art. This want has now 
been filled. Mr. Hageman has had an experience of twenty years 
as actor and stage-manager, and his well-known literary ability has 
enabled him to put the knowledge so gained into shape to be of 
use to others. The book is an encyclopedia of the art of making up. 
Every branch of the subject is exhaustively treated, and few ques- 
tions can be asked by professional or amateur that cannot be an- 
swered by this admirable hand-book. It is not only the best make- 
up book ever published, but it is not likely to be superseded by 
Any other. It is absolutely indispensable to every ambitioub actor. 

CONTENTS 

Chapter I. General Remarks. 

Chapter II. Grease-Paints, their origin, components and use. 

Chapter III. The Make-up Box. Grease-Paints, Mirrors, Face 
Powder and Puff, Exora Cream, Rouge, I^iquid Color, Grenadine, 
Blue for the Eyelids, Brilliantine for the Hair, Nose Putty, Wig 
Paste, Mascaro, Crape Hair, Spirit Gum, Scissors, Artists' Stomps, 
Cold Cream, Cocoa Butter, Recipes for Cold Cream. 

Chapter IV. Preliminaries before iVlaking up; the Straigiit Make- 
up and how to remove it. 

Chapter V. Remarks to Ladies. Liquid Creams, Rouge, Lips, 
Eyebrows, Eyelashes, Character Roles, Jewelry, Removing Make-up. 

Chapter VI. Juveniles. Straight Juvenile Make-up, Qociety 
Men, Young Men in 111 Health, with Red Wigs, Rococo Make-up, 
Hands, Wrists, Cheeks, etc. 

Chapter VII. Adults, Middle Aged and Old Men. Ordinary Type 
of Manhood, Lining Colors, Wrinkles, Rouge, Sickly and Healthy 
Old Age, Ruddy Complexions. 

Chapter VIII. Comedy and Character Make-ups. Comedy Ef- 
fects, Wigs, Beards, Eyebrows, Noses, Lips, Pallor of Death. 

Chapter IX. The Human Features. The Mouth and Lips, the 
Eyes and Eyelids, the Nose, the Chin, the Ear, the Teeth. 

Chapter X. Other Exposed Parts of the Human Anatomy. 

Chapter XI. Wigs, Bearers, Moustaches, and Eyebrows. Choosing 
a Wig, Powdering the Hair, Dimensions for Wigs, Wig Bands, Bald 
Wigs, Ladies' Wigs, Beards on Wire, on Gauze, Crape Hair, Wool, 
Beards for Tramps, Moustaches, Eyebrows. 

Chapter XII. Distinctive and Traditional Characteristics. North 
American Indians, New England Farmers, Hoosiers. Southerners, 
Politicians, Cowboys, Minors, Quakers, Tramps, Creoles, Mulattoes, 
Quadroons, Octoroons, Negroes, Soldiers during War, Soldiers dur- 
ing Peace, Scouts, Pathfinders, Puritans, Early Dutch Settlers, 
Englishmen, Scotchmen, Irishmen, Frenchmen, Italians, Spaniards, 
Portuguese, South Americans, Scandinavians, Germans, Hollanders. 
Hungarians, Gipsies, Russians, Turks, Arabs, Moors, Caffirs, Abys- 
Sinians, Hindoos, Malays, Chinese, Japanese, Clowns and Statuary, 
Bebi-ews, Drunkards, Lunatics, Idiots, Misers, Rogues. 

Address Orders to 
THE DRAMATIC PUBLISHING CX)MPANY 

OilCAGO. ILLINOIS 



LIBRARY OF CONGRESS 



PLAYS 



And Entertainment Books. 



3S EING the largest theatrical booksellers in 
f^ the United States, we keep in stock the most 
complete and best assorted lines of plays and en* 
tertainment books to be found anywhere. 

We can supply any play or book pub- 
lished. We have issued a catalogue of the best 
pkys and entertainment books published in 
America and England. It contains a full 
description of each play, giving number of char- 
acters, time of playing, scenery, costumes, etc. 
This catalogue will be sent free on application. 

The plays described are suitable for ama- 
teurs and professionals, and nearly all of them 
may be played free of royalty. Persons inter- 
ested in dramatic books should examine our cat- 
alogue before ordering elsewhere. 

We also carry a ftdl line of grease paints, 
face powders, hair goods, and other **make-up'* 
materials. 




The Dramatic Publishing Companjr 
CHICAGO 



